Page:Anecdotes of painters, engravers, sculptors and architects, and curiosities of art (IA anecdotesofpaint01spoo).pdf/270

 *porting the cupola. Here he feigned the architecture to form four capacious niches or shells, in which he introduced the patrons of the city, St. John the Baptist, St. Hilary, St. Thomas, and St. Bernard degli Uberti, in magnitude equal to the Apostles, resting on clouds and attended by angels. In depicting the light as transmitted from the groups above, he has thrown it so naturally upon these figures and their angelic suite, that they appear as if detached from the wall, and animated with more than human spirit and grace.

This great work was commenced about 1523, and finished in 1530, as appears from the original agreements and receipts, preserved in the archives of the Chapter, which were published by his biographer Pungileoni, from a copy taken and authenticated by a Notary Public, in 1803. The work seems to have been delayed by the feuds and warfare which agitated Parma at that time, and perhaps by other engagements of the artist. The contract was signed on the 3d of November, 1522. In the plan or estimate which Correggio drew up at the desire of the Chapter, and which is still preserved in his own handwriting, he required twelve hundred gold ducats, and one hundred for gold leaf; the scaffolding, lime, and other requisites to be provided by the Chapter. But in the contract itself, the price was reduced to one thousand ducats, exclusive of the one hundred for gold leaf. For this sum he engaged to paint the choir, and the cupola with its arches and pillars,