File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14768087242).jpg

Identifier: antonioallegrida00ricc (find matches)
Title: Antonio Allegri da Correggio, his life, his friends, and his time
Year: 1896 (1890s)
Authors: Ricci, Corrado, 1858-1934
Subjects: Correggio, 1489?-1534
Publisher: New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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Text Appearing Before Image:
wocherubs of the St. Jerome, with their expression of innocent curiosity,the little angel intent on the support of the cross, the type of the sainthimself, the admirable foreshortening of the angels who appear toSt. Joseph, and the features of the latter, all bear the impress ofCorreggios genius in the last years of his activity. The problem, however, is one we cannot hope to solve withoutthe help of the originals. Many of Correggios scholars and imitatorsapproached him very closely in their types, and the exaggeration ofcontours observable in the prints may have been faithfully reproducedfrom the original pictures. The shape of the plates again, the breadthof which is considerably greater than the height, was one muchaffected by the Bolognese school. It is impossible to be too cautious in discriminating between theworks of several painters who flourished about 1600. But there isnothing in these two prints to make it improbable that the originalswere early works of Giovanni Lanfranco.
Text Appearing After Image:
CERES. (Fresco in the Camera di San Paolo at Parma.) CHAPTER XI THE FRESCOES IN PARMA CATHEDRAL THE MADONNA DELLA SCALA —THE ANNUNCIATION—THE CUPOLA OF THE CATHEDRAL—THE PENDENTIVES AND THE BALUSTRADE -THE CANONS JEST DRAWINGS—THE FAME OF THE WORK BEFORE beginning thefrescoes in the cupola ofParma Cathedral, Cor-reggio executed two minor com-missions, the Annunciation andthe Madonna della Scala. Meyer supposed these twofrescoes to have been paintedprobably in 1520, either imme-diately before, or while the artistwas at work on the cupola ofSan Giovanni Evangelista. Hisascription of them to this dateseems to us a proof that he hadnot studied their technique veryThe blending of the colours, the perfect fusion of the 1 1

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