File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14581718439).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

View Book Page: Book Viewer
About This Book: Catalog Entry
View All Images: All Images From Book
Click here to view book online to see this illustration in context in a browseable online version of this book.

Text Appearing Before Image:
ll be easily convinced thatthe Marriage of St. Catherine at Naples is one of his numerouscopies after Correggio. In the Inventory of the Farnese collection 1 Opere, ii. p. 171. Tiraboschi, p. 258. Five pictures in the National Museum ofNaples are described as by Correggio, the Zingarella being the only authentic example(C. Ricci, Di alcuni quadri di scuola parmigiana, etc., pp. 7-10). In the Uffizi, again, adecapitated head of John the Baptist is attributed to him, which is not even a work of theschool of Parma, also a copy of one of the cherubs in the cathedral of Parma. Anothercherub, in the Pitti Gallery, is a copy from the Madonna with St. Sebastian at Dresden.We will spare the reader a further enumeration. 2 In the Royal Library at Turin there is a drawing of the Marriage of St. Catherine,which even Morelli ascribed to Correggio (Italian Painters, ii. p. 148). It has certaincharacteristics of the master, but these are discounted by many curious defects. Marriage of St. Catherine.
Text Appearing After Image:
THE MARRIAGE OF ST. CATHERINE 171 at Parma, both an authentic example and a copy are mentioned, andthe latter is in all probability the picture now at Naples.1 The sentiment of the composition is altogether delightful in itsnaive simplicity. St. Catherines gentle emotion is no less engagingthan the ingenuous action of the Babe, who, holding her finger in hislittle hand, turns to his mother, as if demanding : Is this the fingeron which I am to put the ring ? The Virgin smiles assent. In thearrangement of the figures, and the daring interlacement of the hands(the Virgin lays hers on those of the mystic bride and bridegroom),we trace the germ of the exquisite Marriage of St. Catherine in theLouvre, a work we judge from indications such as the types, theexecution, the treatment of the hair, the folds of the draperies, thetapering fingers, and, above all, the glowing and transparent carnations,to have been painted after 1522, and certainly not between 1517 and1519, as Meyer and nearly all

Note About Images