that it represents a man of more advanced age than Correggio, who only attained his forty-first year. The portrait, however, as appears from an accurate copy by Mr. Jackson, R. A., does not warrant these doubts of its genuineness, for it displays no character of an age more advanced than the period of life which Correggio attained.

SALVATOR ROSA'S HARPSICHORD. SALVATOR ROSA's confidence in his

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powers was as frankly confessed as it was justified by success. Happening one day to be found by a friend in Florence in the act of modulating on a very indifferent old harpsichord, he was asked, how he could keep such an instrument in his house? Why," said his friend, "it's not worth a scudo."-"I will lay you what you please," said Salvator, "that it shall be worth a thousand before you see it again." A bet was made, and Rosa immediately painted a landscape with figures on the lid, which not only was sold for a thousand scudi, but was esteemed a "capo d'opera." On one end of the harpsichord he also painted a skull and music books. Both these pictures were exhibited in the year 1823, at the British Institution.

CORREGGIO'S APOTHECARY.

TRADITION states, that the beautiful picture of Christ's agony in the Garden, was given by Correggio to an apothecary, in discharge of a paltry

debt of four crowns, and soon afterwards sold to one of the Visconti family for five hundred. All that is, known of its history, is, that it was purchased for Philip IV., of Spain, by the governor of Milan, at the price of seven hundred and fifty Spanish doubloons, or £1,500 sterling, and transferred to the palace of Madrid. It remained there till the invasion of Spain by the French, and on their retreat, was purloined by Joseph Buonaparte, and concealed, with other paintings, in the imperial of his carriage, in his flight from Madrid. It was, however, taken by the troops of our victorious army, and now graces the collection of the Duke of Wellington.

PARMEGIANO'S INTRODUCTORY PICTURES.

AT the commencement of Parmegiano's career he appears to have felt, that in imitating the style of any single master, however excellent, he should fail to attain that eminence to which he aspired. The reputation of Raffaelle and Michael Angelo awakened his curiosity and emulation, and he formed the resolution of contemplating the productions of the Roman school, which presented a new and peculiar character of grandeur and grace, united with correctness of design. He therefore took his departure in 1523, from Parma, at the age of twenty, in company with his uncle Michael, with the hope of obtaining the patronage of Clement

VII., who had recently succeeded to the papal chair; he carried with him three pictures, which he had finished expressly to procure an introduction to his Holiness.

The largest of these represented the Virgin with the child on her bosom, taking fruit from the lap of an angel. Another was intended to exhibit a striking specimen of pictorial illusion. It was a portrait of himself, delineated on a convex surface of wood, exactly representing the appearance displayed by a mirror. The figure of the artist, as well as the furniture and windows of the chamber, in which he was supposed to sit, were so artfully depicted, and so happily imitated, that the whole appeared as if reflected from a polished or glassy surface. Vasari, who saw it, observes, that as he was of a comely form, his countenance more resembling an angel than a man, his effigies thus exhibited, appeared something divine. This picture, after passing through several hands, particularly those of the celebrated Aretino, when it was admired by Vasari, is said by Bottari in his notes on that author, to have been finally deposited in the Treasury at Vienna.

Mazzola was well received by the Pope. Although his holiness was accustomed to the excellent compositions of Raffaelle, he was much struck with the works of the young stranger, made him several presents, and gave him great encouragement to deserve

his patronage. To manifest his gratitude for the praises and rewards, which he obtained from the Papal court, Parmegiano presented to the Pope a picture, which proves his knowledge of the chiaroscuro, an excellence which he had caught from the masterly designs of Correggio. The subject was the Circumcision of Christ, and it was remarkable for the introduction of three different lights, without affecting the general harmony. The figures in the foreground were irradiated from the infant Jesus, the second series from torches in the hands and persons, bringing sacrificial gifts; and the back ground was a pleasing landscape, enlightened by the early dawn. This piece, which was much valued by the Pope, was afterwards in possession of the Emperor Charles V.

VICISSITUDES OF ART, AFTER THE DEATH OF

AUGUSTUS.

THE arts, on the death of Augustus, says Spencé in his Polymetis, suffered a great change, but not so great as eloquence and poetry. There is a secret union between all the polite arts, which makes them fade or flourish together. The favour of Augustus, like a gentle dew, made them bud forth and blossom; and the sour reign of Tiberius, like a sudden frost, checked their growth, and killed all their beauties. The vanity and tyranny of the following times gave the finishing stroke to sculpture

and eloquence, to painting and poetry. Indeed what else could be expected from such monsters as Tiberius, Caligula, and Nero? From their baleful influences the arts suffered so much, that they were soon after reduced to a very low ebb, and particularly painting. The series of good emperors after Domitian, gave some life to the arts; but after the Antonines, they declined very fast; and, by the time of the thirty tyrants, were so fallen, as never to rise again under the future emperors.

FRANCANZANI AND SALVATOR ROSA.

"

FRANCANZANI, the brother-in-law of Salvator Rosa, was wont, on the arrival of that great artist, after his excursions in the mountains, &c. to sketch, to rifle the contents of his portfolio; and he frequently found there compositions hastily thrown together, but selected, drawn and coloured with a boldness and a breadth which indicated the confidence of a genius sure of itself. The first accents of the thrilling melody of sweet renown" which ever vibrated to the heart of Salvator, came to his ear on these occasions in the Neapolitan patois of his relation, who, in glancing by lamplight over his labours, would pat him smilingly on the head, and exclaim, "Fruscia, fruscia, Salvatorielloche va buono :” *—simple plaudits! but frequently remembered in after-times, (when the cupola of the Pantheon had already rung with the admiration

* "Go on, go on, (or literally, rub on,)-this is good,"