CHAPTER X
ANTONIO ALLEGRI (called CORREGGIO) 1494 (?)-1534 Italian School of Parma
MICHELANGELO BUONARROTI 1474-1564 Italian School of Florence

IT would be impossible to imagine a greater contrast than the one presented by these two pictures -- Correggio's Mystic Marriage of Saint Catherine and the Jeremiah by Michelangelo. And the difference is all the more worth studying because these artists are the most typical representatives of two very different phases of that wonderful outburst of energy which we call the Renaissance.

We have seen how two currents of striving united in Raphael's work; how he satisfied the old religious yearning as well as the newly aroused passion for the antique; how he reclothed the Bible story in classic guise. We have seen, too, that in Leonardo da Vinci were revealed the subtlety of his time, its eagerness for perfection, the dawn of the spirit of scientific inquiry, which, reawakened by the study of Aristotle and Plato, was searching into the mystery of the universe and man's relation to it; and that in this peering forward Leonardo anticipated some of the facts of science rediscovered and established by later philosophers and scientists.

We can now study in Correggio that element in the

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