A BIOGRAPHICAL DICTIONARY OF
Bumption at Toledo. The Dresden Gallery has a
' Christ on the Cross ' said to be by him.
CORREA, Marcos, a Spanish painter, was a scholar of Bobadilla, and a member of the Academy of Seville from 1667 to 1673. His subjects were unambitious ; he painted with great care and finish email details of still life, such as papers, books, &c.
CORREGGIO, Antonio da. See Bebnieri.
CORKEGGIO, Antonio Allegri da. See Al-LEGBI.
CORREGGIO, Francesco, was a native of Bo- logna, and flourislied about the year 1652. He was a scholar of Francesco Gessi, and painted history with some reputation. His works are chiefly confined to the churches at Bologna. In San Procolo is a ' Magdalene in the Desert ; ' in the Nunziata, the ' Madonna di Loreto ; ' and in Santa Maria de' Servi, the ' Virgin and Infant, with St. Luke and other Saints.'
CORRENS, Erich, was born at Cologne in 1821, and after studying jurisprudence at Bonn, went to the Academy at Munich, and became an accomplished portrait painter and lithographer. He died at the latter city in 1877. He was well known for the elegance of his portraits, among which those of King Maximilian of Bavaria and Queen Maria, his consort, are mentioned as note- worthy.
CORSO, Giovanni Vincenzo, was bom at Naples about the year 1490, and was instructed by Amato and Pietro Perugino. He also studied the works of Andrea Sabbatini and Polidoro da Caravaggio, and subsequently went to Rome, and assisted Pierino del Vaga. Most of the works of this artist in the churches at Naples have been damaged and re- touched. The best preserved are his admired picture of ' Christ bearing his Cross,' with many figures, in the church of San Domenico Maggiore, and the ' Adoration of the Magi,' in San Lorenzo Maggiore. He died at Rome in 1545.
CORSO, Niccol6, was a native of Genoa, and flourished about the year 1503, the date inscribed on some of his works. His pictures are chiefly in the cloister and refectory of the monastery of the Olivetan Fathers at Quarto, near Genoa ; the most esteemed is a subject from the life of St. Benedict. Soprani extols this painter for the fecundity of his ideas, the fine expression of his heads, and, above all, for the vivacity and firmness of his colouring, which, if it could be divested of a little hardness, would cause this artist to rank among the ablest of the Genoese painters of his time.
CORT, CoRNELis, called in Italy Cornelio Fiam-MINGO, an excellent engraver, was born at Hoorn in Holland, in 1533 or 1536. He was first in- structed by Hieronymus Cock, for whom, in the early part of his life, he executed several plates after Rogier van der Weyden, Michiel Coxie, Frans Floris, and H. Mostaert, which were pub- lished with the name of his master. After having earned a very considerable reputation by these plates, he went to Italy, and first settled at Venice, where he resided in the house of Titian, and en- graved some of the finest works of that great painter. He afterwards removed to Rome, where he estab-lished a school of line engraving, in which he sought to graft on the simple manner of Marcantonio a more brilliant and broader style. This gave to the art a direction which it long retained, and which was adopted and extended in Italy by Agostino Carracci, and followed by Nicolaus De Bruyn of Antwerp. The art of engraving had hitherto been nearly confined to small plates ; and it was Cornelis Cort that opened the way to a more important sphere of the art. Cort died at Rome in 1578. His drawing is correct and tasteful ; and his backgrounds, particularly his landscapes, are managed with great skill and finesse. His plates are signed with C. C7./., Corn., or Co.f. Heinecken has given a complete catalogue of the works of this esteemed artist, the merit of which will justify our giving the following ample list of the most interesting ;
portraits. Oomelis Cort ; engraved by himself. Henry II., King of France ; oval. Catharine de' Medici ; Queen of France. Don Juan of Austria ; oval, with ornaments. 1578. Marcus Antonius Moretus ; oval. Andrea Alciati ; oval, with ornaments. Rogier vau der Weyden ; painter. Theodoor van Haarlem ; painter. Joachim Dionateusis ; painter.
SUBJECTS after HIS OWN DESIGNS. The Birth of the Virgin. 1568. The Conception of the Virgin. 1587. The Presentation in the Temple. The Repose in Egypt. 1563. The Holy Family : St. Joseph presenting a Pear to the Infant. The Last Supper. 1563. (He engraved this subject twice.) A Crucifix over a Globe, held by two Angels. The Resurrection. 1569. St. Theodore, patron of Venice, overcoming a Dragon. St. Catharine crowned by Angels. 1575. St. Veredina kneeling before an Altar. Two Landscapes, with Shipwrecks.
SUBJECTS AFTER FLEMISH MASTERS BEFORE HB WENT TO ITALT.
Adam and Eve, with the Serpent; after Michiel Coxie. The Resurrection ; after the same. 1563. The Descent of the Holy Ghost ; after the same. Christ triumphant, with St. Peter and St. Paul ; after the same. Four Plates of the History of the Rich Man and Lazarus; after Heemskerk. The Parable of the Vineyard ; after the same. Four Plates of the Parable of the Talents ; after tht same. Six plates of the History of Noah and the Deluge; after F. Floris. Six plates of the History of Abraham ; after the same. Six plates of the History of Jacob aud Rachel ; after the same. Ten plates of the Labours of Hercules ; after the same. Four plates of the History of Pluto aui Proserpine ; after the same. Bacchus and Venus ; after the same. 1566. The Immortality of Virtue ; emblematical ; after tht same. 1564. The Descent from the Cross ; after Rogier van der Weyden. St. Roch ; after J. Speckart 1587. St. Laurence ; after the same. St. Dominic reading ; after Bart. Spranyer. The Holy Family, with Angels ; after the same. The Coronation of the Virgin ; after Gilles Mostaert. 1565. The Academy of Painting ; after Stradan ; fine. 1573.
SUBJECTS AFTER VARIOUS MASTERS ENGRAVED IN ITALY.
After Titian. The Annunciation. Another Annunciation. The Martyrdom of St. Laurence. 1571. The Trinity ; generally called, All Saints. 1566. St. Jerome in the Wilderness, reading. St. Jerome in the Wilderness, kneeling before a Crucifix at the entrance of a Cavern ; In I 'enetia.
Corn. Cort. f. ; scarce. Not mentioned by Heinecken.
334
