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antonio allegri da
[ahn-taw-nyaw ahl-le-gree dah] /ɑnˈtɔ nyɔ ɑlˈlɛ gri dɑ/ (show ipa), 1494–1534, italian painter.
historical examples

the restlessness of correggio, the violent att-tudinising of tintoretto, belong alike to another and less n-ble spirit.
renaissance in italy vol. 3 john addington symonds

it was left for other men to accomplish, namely, for correggio and t-tian.
lectures on architecture and painting john ruskin

if his brother had been t-tian or correggio he could not have said more.
the golden b-tterfly walter besant

if he is incorrect in the proportions of his figures, correggio was likewise incorrect.
seven discourses on art joshua reynolds

in 1580 he visited parma, where he spent three years in studying the works of correggio.
a popular handbook to the national gallery, volume i, foreign schools various

naturally the man who loved mozart was bound to adore raphael and correggio.
egoists james huneker

correggio’s immediate pupils and followers, like those of raphael and andrea del sarto, did him small honor.
a text-book of the history of painting john c. van dyk-

he abominated the nacreous flesh tones of t-tian, correggio, or rubens.
egoists james huneker

a violent affection for correggio, and a longing to see his works where they are to be found in greatest number, sent me to parma.
recollections of my childhood and youth george brandes

but we are nowhere as yet -ssured that it was used by correggio as a vehicle.
blackwood’s edinburgh magazine, volume 65, no. 402, april, 1849 various

noun
antonio allegri da (anˈtɔːnjo alˈleːɡri da). 1494–1534, italian painter, noted for his striking use of perspective and foreshortening