CORPS D'ARM^E 



495 



importance in attached to the use of the common 

 seal of a corporation than in Britain. For trade 

 corporations, nee the article (Irn.iis. 



Corps d'Annle. See AKMY CORPS. 



Corpse Candle. See CANDLE. 



Corpulency. See OBESITY. 



Corpus Christ i Festival, the most splendid 

 festival of the Roman Catholic Church. It was 

 iiistimird in 1264 (sec HOI.SKNA ), in honour of the 

 < 'onsecrated Host and with a view to ite adoration, 

 by Pope Urban IV., who appointed for its cele- 

 bration the Thursday after the festival of the 

 Trinity, and promised to all the penitent who took 

 juirt in it indulgence for a period of from forty to one 

 hundred days. The festival is chiefly distinguished 

 l'\ magnificent processions. In France it is known 

 as the F$te Dieu ; in Germany, as the Fronleich- 

 in ni infest. 



Corpuscles, BLOOD. See BLOOD. 



Corpuscular Theory. See LIGHT. 



Corpus Delicti, a criminal law term used 

 in Scotland to signify the body or substance of the 

 crime charged. To make out the corpus delicti is 

 to prove that the crime charged has been com- 

 mitted ; as, when a person is charged with murder, 

 it must be proved that the deceased came by his 

 death in consequence of the injury libelled, and 

 not, for example, by natural causes. 



Corpus Juris Civilis is the whole 1><1 \ of 

 the Roman or Civil Law, as comprised in the Insti- 

 tutes, the Digest (or Pandects, q.v.), the Code, and 

 the Novelise (see CODE, LAW). In like manner the 

 juris canonici is the body of Canon Law ( q. v. ). 



Correction, HOUSE OF, a prison for the 

 reformation of petty offenders. See PRISONS, RE- 

 FORMATORIES. 



Correction of Proofs. See PROOFS. 



Correggio, ANTONIO ALLEGRI DA, was so 

 styled from the place of his birth, a small town 

 20 miles E. of Parma, where he was born in 1494. 

 Modern research has proved the inaccuracy of 

 Vasari's highly coloured account of his struggles 

 and poverty. His father, a well-to-do merchant 

 or tradesman of Correggio, seems to have de- 

 signed him for a learned profession ; but he 

 turned to art, studying under his uncle and three 

 other masters. He is believed to have gained some 

 idea of foreshortening and perspective from the 

 works of Mantegna at Mantua, which he visited 

 in 1511, and to have been influenced by the grace- 

 ful colouring of Lorenzo Costa. At the age of 

 about twenty he returned to his native town, where 

 in 1514 he painted an altarpiece for the Franciscan 

 convent, a work, now in the Dresden Gallery, dis- 

 tinguished by more gravity, restraint, and religious 

 feeling than characterise his later productions. In 

 1518 ne began his great series of works at Padua 

 by a beautiful fresco series of mythological subjects 

 for the decoration of the convent of San Paolo, 

 which are still in an excellent state of preservation. 

 From 1521 to 1524 he was engaged upon his subject 

 of ' The Ascension ' in the cupola of tne Benedictine 

 church of San Giovanni, a fresco in which the 

 master's power is fully visible. His next great 

 monumental work was the decoration of the 

 cathedral of Parma, commissioned in 1522. The 

 subject chosen for the interior of the main dome 

 was ' The Assumption of the Virgin. ' 



During the execution of these frescoes Correggio 

 was also much occupied with easel-pictures in oils. 

 Among these are his very celebrated Adoration of 

 the Shepherds, known as ' La Notte ' or ' The 

 Night,' commissioned in 1522, now in the Dresden 

 Gallery, a work of marvellous softness and delicacy. 

 Five years later he painted ' II Giorno,' an exquisite 

 picture, now in the Parma Gallery. 



In 1530 Correggio removed from Parma to hi* 

 native town, when-, in tin- name year, he purchased 

 an estate, and in 1533 Home additional land. The 

 production of the 'Jupiter and Antiope' of the 

 Louvre, ' The Education of Cupid ' of the National 

 (allcry, London, of the 'Danae' of the Borgheae 

 Gallery, and of the ' Leda ' of the Berlin M u--u m , 

 has been assigned to the painter's later years; 

 and the ' Reading Magdalene,' of which the picture 

 in the Dresden Gallery is now regarded aft merely 

 a 17th-century copy, was completed in 1528. He 

 died at Correggio, at the early age of forty, on 

 the 5th of March 1534, and was buried in the 

 cloister of the Franciscan church of the place. 



The art of Correggio is distinguished by ite grace 

 and gaiety, by ite sunny sensuous charm. Hi- 

 figures are rendered with a bounteous sweeping 

 outline, and he delineate* rapid motion ana 

 momentary attitudes and expressions with singu- 

 lar power. His colouring possesses the finest 

 delicacy and luminosity ; his foreshortening i 

 bold and skilful, if sometimes rather extravagant ; 

 and, above all, he was unrivalled as a master of 

 subtle and refined chiar-oscuro. His works present 

 the strongest possible contrast to the gravity and 

 restraint, to the reverential feeling and the accur- 

 ately balanced compositions, of the earlier devo- 

 tional painters of Italy. 



His only son Pomponio, by his wife Girolama 

 Merlino (whom Correggio married in 1520, and 

 who died in 1529), was born in 1521, and was alive 

 in 1593. He also was a painter, and an altar-piece 

 from his hand is in the Academy at Parma. 



See, besides Julius Meyer's article in the Kunttter- 

 Lexicon (1870; Eng. trans. 1876), and J. P. Richter's 

 in Kunst und Kilnstter (1879), the fully illustrated Life 

 by Corrado Ricci (trans, by Simmouds, 1896). 



Correg'idor is the name given in Spain to 

 the principal magistrate of a town, appointed by 

 the king. Readers of Gil Bias will remember his 

 functions and the terror of his name to evil-doere. 

 The Portuguese corregidor has administrative but 

 not governing powers. 



Correlation of Forces. See ENERGY, 

 FORCE. 



Correlation of Organs, the close mutual 

 dependence between different systems and struc- 

 tures within the organism. A three- or four- 

 chambered heart is correlated with the development 

 of lungs ; animals with an allantois never have 

 gills ; the development of a placenta is all but 

 co-extensive with the presence of milk-glands. So 

 among plants parallel venation of the leaves is 

 almost constantly correlated with monocotyledon- 

 ous structure ; and a restriction of the vegetative 

 leaf-organs will show itself in a counterbalancing 

 modification of flowers and fruit. From the time 

 of Aristotle such correlations have been noticed ; 

 but it was not till after the work of Cuvier, 

 Geoffrey St-Hilaire, Goethe, and their contempor- 

 aries, that the fact was adequately appreciated. 

 It was only then, in other words, that the organism 

 began to be really understood as a unity of mutu- 

 ally dependent parts. The general proposition that 

 all the organs are partners in the general life, that 

 if one member suffer all the members are more or 

 less influenced, is sufficiently self-evident. But 

 beyond this there are the special facts which show 

 that certain organs are knit together by closer 

 physiological bonds than others, tnat certain struc- 

 tures stand or fall together, that certain characters 

 have a contemporaneous appearance in the his- 

 torical evolution. The facts are well known ; their 

 explanation in many cases is difficult or quite 

 obscure. See EVOLUTION, VARIATION. 



Correspondence Classes, a method of 

 instruction first fully developed in the United 



