It seems painted in (their) juicy, fat colour, the parts completed one
after another upon the bare pannel, the same as frescoes upon the
flattened wall. Simplicity of tint and of colour prevails; no staining
or mottled varieties: the flesh, both in light and shadow, is produced
by one mixed up tint so melted that no mark of the brush is seen. There
is here no scratching or scumbling--no repetitions; all seems prepared
at once for the glaze, which, simple as the painting is, gives to it
with fearless hand the richness and glow of Correggio. All imitations of
this master are complicated compared to this, and how complicated and
abstruse does it make all attempts of the present day to give similar
effects in colouring! Here is one figure in outline upon the prepared
board, with even the finger-marks in colour of the painter himself. Here
is the preparation of the figures painted up at once, and, strange to
say, with solid and even sunny colours. Here are the heads of a woman
and of a naked child, completed with the full zest and tone of
Correggio, in texture fine, and in expression rich and luxurious, and as
fine an example of his powers as any part to be found in his most
celebrated work.
_Wilkie._