File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14779090551).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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Text Appearing Before Image:
it this, though he beheved the original altar-pieceto have represented the birth of the Virgin. The facial types, thefolds of the draperies, the character of the composition, the attitudes,the landscape, all point to a work executed by Correggio at the sameperiod in which he painted the Repose in Es^ypt in the Uffizi, andthe Ziiigarclla ofthe Naples Museum.Two other copies ofthe work are stillextant : one in theCampidoglio Gal-lery at Rome, theother in the Breraat Milan.^ In thelatter, the originalsignature on a stoneat St. Lucys feet isreproduced: Anton- IVS L.\ETVS FACI- EBAT. That Cor-reggio habituallylatinised his namein this fashion weknow from docu-ments to which we Co, • nfler Corrc-io In the Paima Caller • shall refer later on. The reproduction of this signature caused certain writers to uphoklthe copy as the original. Otto Miindler among others expressed thisopinion, though it ran directly counter to the reasonable and unanimousconclusions of Morclli, Frizzoni, and Meyer.
Text Appearing After Image:
.\d. Venturi, La Gallcria del Cn/N/iidog/iii, p. 39. Rome, 1890. G. B. Ventuimentions another copy in his own possession, of whicli he gives a reproduction. See hiStoria di Scandiaiw, pp. 129-130. Modena, 1882. 2 Correggio, p. 87. 138 ANTONIO DA CORREGGIO The original has disappeared entirely, like the original of theYoung Man fleeing from the Captors of Christ. The latter was in theBarberini Gallery in the seventeenth century, and went from thence toEngland, where we lose all trace of its subsequent history. Several copies of this, as of the Albinea picture, are still extant,however, and more than suffice to exclude it from the list of Correggiosjuvenile works.- It is strange that the free and vigorous modelling of the nude inthis picture, the type and expression of the young mans face, the broadand flowing treatment of the folds in his crimson mantle, the dramaticanimation of the soldiers figure, and the unconventional nature of thewhole composition should not have prevented a sound

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