468 



CORRECTION OF THE PRESS CORREGG1O. 



in the margin, as well as at the break. When words 

 are transfused, iheyure to be connected by a carved 



line, as, noC\Js when set up for is not," and the 



diameter tr. is to l>e written in the margin. When 

 a It-tier is im cried, die mistake is pointed out by 

 Mi.-h a cliar.u-ter as ' in the margin. U lien marks 

 uf].iunctiialii>ii are omitted, a earel is put where tlie 

 mark should have l>ecn inserted, and lite comma or 

 period, &c.. is placed in the margin, with a stroke 

 behind it; a-, ./. It a mark of quoUUion has Ix-en 

 omitted the caret is made as before, a nil a diameter 

 of this sort y or \ placed in the margin. \\ ords 

 which are to be printed in Italics are marked be- 

 neath \\iili a single line; as, oilice : if in small 

 capitals, with two lines; as, Greece: ii' in large ca- 

 pitals, with three ; as, JamesT \i here these marks 



nre used in correction, the abbreviations Itul. small 

 cups, and caps, should be written in the margin. 

 M here a word printed in Italics is to be altered to 

 llonian letters, a line is to be drawn under it, and the 

 abbreviation Horn, is to be written in the margin. 

 Where a correcior. after altering a word, changes 

 his mind, and prefers to let it siand, dots are placed 

 under it, and the word stet is written in the margin. 

 When a hyphen is omitted, a caret is made under the 

 place where it should be, and siu.li a character as 

 this - placed in tlie margin. 'i he omission of a 

 dash is pointed o;it in tlie same way, only the en- 

 closed line in the margin is made a little longer. 

 When a break is made, so as to produce a division 

 into paragraphs, where this was not intended, the 

 end of tlie one and the beginning of tlie other para- 

 graph :;re connected by a curved line '^*. , and 

 the words no break are to be written in the margin. 

 > here a new paragraph is to be made, a caret is 

 inverted, and this mark ^j placed in the margin. 

 U'here blemishes, such as crooked lines, &c., appear, 

 it is sudicient to call the printer's attention by a dash 

 of the pen to the place. It is always to he kept in 

 mind, that the printer will not make r.ny alteration 

 in the text, unless his attention is drawn to it by 

 characters in the margin. Persons correcting the 

 press would do well to recollect, that no considerable 

 amount of matter can be inserted into or taken from 

 a page, without requiring the whole page of types to 

 be deranged ; and, as the length of the page is 

 affected by the alteration, it must be adjusted at the 

 expense of the next page, and so on ; so that all the 

 following pages may have to be disturbed. It is 

 therefore very desirable, when an addition is made 

 amounting to more than a few letters, to strike out 

 something of about equal length in the vicinity ; so, 

 when an erasure of more than a few letters is 

 made, it is desirable to introduce an addition, of 

 iboiit the same amount, near the place where it oc- 

 curs. 



In the early times of the art of printing, more at- 

 tention was paid than at present to the correction of 

 the press, the books then printed being comparative- 

 ly few and important, and superintended by learned 

 men in their progress through the press ; while, in 

 modem times, innumerable publications of temporary 

 interest are sent forth in great haste. Some of the 

 old presses are celebrated for great correctness, and 

 Jie works which have issued from them, therefore, 

 are held in high esteem ; e. g. the publications of 

 the Alduses, the Stephens, &c. It was not uncom- 

 mon in tiiose times for the proof-sheets to be hung 

 up in some public place, that anybody might have an 

 opportunity of detecting errors. From this custom 

 the proof sheets are still called, in <\wv.\&n,/liiskaen- 

 gebogen (sheets hung out). Some modern presses 

 5tte beer distinguished ; and in lite cae of particu- 



lar works, consisting wholly or in part of tables of 

 li'Min s. or of arithmetical calculations, a reward has 

 been offered lor < \t-ry error discovered. In the pre- 

 f.-.ce to Vega's logarithmic tables, two louis d'ors are 

 olicred for every err.ai.m detected. <>n the whole, 

 however, more attention has been paid, in modern 

 times, to elegance than to correctness of execution. 

 Siine of the Knglish newspapers de-erve much credit 

 for their correctness, considering the rapidity with 

 which much of their contents is printed, as in the < a-e 

 of parliamentary speeches, delivered late at night, 

 perhaps after midnight, and given to the public early 

 the next morning. '1 he ' icmians, who are distin- 

 guished, in so many respects, for laborious accuracy, 

 yet print with less correctness than the other great 

 literary nations. Some of the editions of the works 

 of their first authors have two or three pages ot 

 errata. 



CORREGGIO, ANTONIO AI.LKGRI, frequently called 

 sintoitio tin Correggio. from the place ot his birth, was 

 born, in 1494, at Correggio, in the duchy of Modem, 



and was intended for a learned profession ; but na- 

 ture had designed him for an artist. It has not Ix-in 

 ascertained how much he was indebted to his in- 

 structor, who was probably his uncle Lorenzo Al- 

 legri. His genius pointed out to him the way to 

 immortality. It is related that once, after having 

 viewed a picture of the great Raphael, he exclaimed, 

 Anch? io sono pitlore (I also ;.m a painter) ; but it is 

 not proved that Correggio ever was in Rome ; and in 

 Parma and .Modena, where, according to D'Argens- 

 ville, he might have seen works of Raphael, there 

 were none at that time; so that this story wants 

 continuation. That Correggio, without having sn n 

 either the works of the ancient masters, or tlie c/iefs- 

 d'oeuvre of the moderns who preceded him, shoJd 

 have become a model for his successors, by the un- 

 assisted energies of his genius, renders him so mud) 

 the more deserving of our admiration. '1 hree qua- 

 lities will always be admired in him grace, har- 

 mony, and a skilful management of the pencil. There 

 is a peculiar grace in the movements of his figures. 

 and a loveliness in their expression, which takes pos- 

 session of the soul. These attitudes and movements 

 could not be executed by any artist, without his mas- 

 terly skill in foreshortening, which not only gives 

 greater variety to a piece, but is also favourable to 

 gracefulness. Avoiding all roughness and hardness, 

 , 'onviruio sought to win the soui by mild and almost 

 cfteiuuiute Ix-auties. He strove to obt iin this object 

 also by harmony of colouring, of which he may be 

 "ailed the creator. He is unrivalled in the chiur 

 oncuro; that is, in the disposition of the light ; in the 

 grace and rounding of his figures, and in the faculty 

 of giving them tiie appearance of advancing and re- 

 tiring, which is the distinguishing excellence of the 

 Lombard school, of which he may be considered the 

 head. In his drapery, he calculated with extreme 

 accuracy all the effects of the c/tiar oscuro. He pos- 

 sessed the power of parsing, by the most gracc/ni 

 transition, from the bright colours to the half tints. 

 It was ever his object to make the principal fig mo 

 prominent, that the eye, after gazing till it was sa- 

 tisfied on the bright colours, miglit repose with 

 pleasure on the softer masses, lie n.ade a skilful 

 use of this art in his Nrjht (la nolle di Correggio), 

 which is to be seen in the gallery hi Dresden, where 

 mere are seven pictures in which his progress in the 

 art may IH> recognized. That this artist was imbued 

 with the spirit of poetry, is proved by the allusions 

 i which he sometimes introd'.iced into his pictures ; for 

 i example, the white hare in t:,e /ingara (Gipsy), in 

 I !;resiien and Naples (a Madonna, which has received 

 ! ti is name from the oriental style of the drapery 

 1 and head dress) ; and the goldiinch, in the Murriagc 



