Correggio's work did not go uncriticised. Indeed one artist, gazing up
into one of the cupolas where Correggio's fore-shortened figures were
placed, remarked that to him it appeared a "hash of frogs."

But when Titian saw that cupola, he said: "Reverse the cupola, fill it
with gold, and even then that will not be its money's worth."

Correggio did not receive very large sums for his work, and since he
was married and took good care of his family, he must have had some
source of income besides his brush. He received some interesting
rewards for his paintings. For example, for "St. Jerome," called "Il
Giorno," he was given "400 gold imperials, some cartloads of faggots
and measures of wheat, and a fat pig." That picture is in the Parma
Gallery, and all the cupolas which he painted are in Parma churches.

Some of his pictures are signed; "Leito," a synonym for his name,
"Allegri." This indicates his style of art.

There is an interesting story told of how Correggio stood entranced
before a picture of Raphael's, and after long study of it he
exclaimed: "I too, am a painter!" showing at once his appreciation of
Raphael's greatness and satisfaction at his own genius.

Doubtless a good share of Correggio's comfortable living came from the
lady he married, since she was considered a rich woman for those times
and in that locality. Her name was Girolama Merlini, and she lived in
Mantua, the place where the Montagues and Capulets lived of whom
Shakespeare wrote the most wonderful love story ever imagined. This
young woman was only sixteen years old when Correggio met and loved
her, and very beautiful and later on he painted a picture,