File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14581619490).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:
as not escapedinjury. What may be called studio reminiscences are apparent in theflying angels, in the group of St. Elizabeth and St. John (the latterundoubtedly inspired by Mantegnas picture in the Church of SantAndrea at Mantua), in the broad Costesque cast of the draperies asthey fall about the feet. But the painters brilliant personalitydominates the whole. The angel who addresses the shepherds beamswith a mild and heavenly radiance ; in the Virgins rapt expressionwe read her holy joy at having brought forth such a son. There arecertain obvious blemishes, such as a hardness in some of the fore-shortenings (the right hand of the angel, for instance), and triflingdefects of treatment in the draperies ; but the picture is a little gemas a whole. The colour-harmony, brilliant as the plumage of ahumming-bird, is Ferrarese, as in Frizzonis picture. The enamelledreds and azures of the Virgins robes are effulgent as those of Costaafter he had come under the sway of Francia. St. Elizabeths
Text Appearing After Image:
MADONNA WITH TWO CHILDREN AND ST. ELIZABETH. In the Palace at Sigmaringen. EARLY PICTURES BY CORREGGIO 103 draperies are in a lower key ; and it is curious to note the Mante-gnesque influence proclaiming itself, not only in the conception, butto a certain extent in the colouring of this figure. Judging by the oval types of the heads, the flow of the draperiesabout the feet, and their scanty, perpendicular folds, the sombre tonesof the landscape and of the colour generally, we are inclined to thinkthe so-called Christ taking leave of his Mother before the Passion, nowthe property of Mr. R. H. Benson, a work of about the same date asSignor Crespis picture. Here we agree with Morelli rather than withDr. J. P. Richter, who supposes it to have been painted about 1517,two years, consequently, after the Madonna of San Francesco, andabout two years before the frescoes in the Camera di San Paolo, whichwe think quite impossible. We shall presently see what types andcolours he affected at that p

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