The restlessness of Correggio, the violent attitudinising of Tintoretto, belong alike to another and less noble spirit.
It was left for other men to accomplish, namely, for Correggio and Titian.
If his brother had been Titian or Correggio he could not have said more.
If he is incorrect in the proportions of his figures, Correggio was likewise incorrect.
In 1580 he visited Parma, where he spent three years in studying the works of Correggio.
Naturally the man who loved Mozart was bound to adore Raphael and Correggio.
Correggio's immediate pupils and followers, like those of Raphael and Andrea del Sarto, did him small honor.
He abominated the nacreous flesh tones of Titian, Correggio, or Rubens.
A violent affection for Correggio, and a longing to see his works where they are to be found in greatest number, sent me to Parma.
But we are nowhere as yet assured that it was used by Correggio as a vehicle.