129 



the different parts of the picture, and pro- 

 duce that flicker (as it sometimes is called) 

 so captivating to the eye under his ma- 

 nagement, but so apt to offend it when 

 attempted by inferior artists, or by those 

 who are less thoroughly masters of the 

 principles of harmony than that great 

 painter. All these dazzling effects are 

 heightened by the spirited management 

 of his pencil, by those sharp, animated 

 touches, which give life and energy to 

 every object. 



Correggio's principal attention in point 

 of form, was directed to flow of outline, 

 and gradual variation: of this he never 

 entirely lost sight, even in his most capri- 

 cious fore-shortenings; and the style of his 

 light and shadow is so congenial* that the 

 one seems the natural consequence of the 

 other. His pictures are always cited as 

 the most perfect models of those soft and 

 insensible transitions, of that union of effect, 

 which above every thing else, impresses 

 the general idea of beauty. The man- 

 ner of his pencilling is exactly of a piece 



VOL. I. K 



