File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14595654039).jpg

Identifier: antonioallegrida00riccrich (find matches)
Title: Antonio Allegri da Correggio, his life, his friends, and his time
Year: 1896 (1890s)
Authors: Ricci, Corrado, 1858-1934 Simmons, Florence
Subjects: Correggio, 1489?-1534
Publisher: New York : Charles Scribner's sons
Contributing Library: University of California Libraries
Digitizing Sponsor: MSN

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hat the hand should have°^°- ^1 I ™—-- executed, but that the brain should have conceived sucha work, so wonderful is the airy motion of the draperies and of theatmosphere. He adds that Girolamo da Carpi expressed his ad-instance, has many of the characteristics of Giorgio Gandino del Grano. The figure ofthe Apostle in profile, looking up, is a study made by Bernardino Gatti for the cupola ofthe Steccata. Several of the drawings ascribed to Correggio at Windsor are by Parmi-gianino and Girolamo Mazzola. A drawing of a semi-nude female figure with threechildren, in the Louvre, ascribed to Correggio, is a study by Parmigianino for his SaintAgatha. We need not mention the hundreds of other drawings to which his name hasbeen affixed with bewildering levity. 1 Archiv. storko del/ arte, iii. y. 413. Rome, 1S90. 2 G. Giordani, Sopm sei dipinti ad olio del Corn\i;gio. Letter to Cav. Pictro Martini.Bologna, 1865. M.S. letter of Signor Carlo Zanichelli in the archives of the ParmaGallery.
Text Appearing After Image:
THE FAME OF TTTE WORK miration of the marvellous foreshortening of the figure of the Virgin,who ascends to heaven, surrounded by a multitude of angels. The Carracci were even more fervent in their admiration. OnApril i8, 15S0, Annibale wrote to Agostino : I lost no time in goingto see the great cupola, which you have so often praised to me, and I,too, was amazed to see .so vast a composition so perfectly carriedout, so e.xcellentlyforeshortened frombeneath to above,executed with somuch vigour, andyet with such graceand judgment, andwith a glow ofcolour that seems tobe that of flesh it-self. Trul)-, neitherTibaldo, nor Nico-lino,^ nor evenRaphael himself,has equalled it ! From thence-forth Parma be-came a place ofjiilgrimage for allthe numerous ar-tists of the Bolog- ■ .IKAl. OF A r.nv, A LOlV AFTER COKRECGIO. nese school, and the 1^^ ^1^^ ^^^.^^. p,^^^,^^,. cupola of the Duo-mo the greatest and most perfect example of Italian art, and the idealthat every painter of discrimination so

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