File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14595611579).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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ted lips, and in the dilated pupilsof the brilliant eyes. The eagle is not represented as a quiescent and purely symbolicattribute of the Apostle. Turning his head, he plucks at one of hislarge wing feathers with his beak, an action which has caused himto be described by some writers as engaged in pluming and cleaninghis feathers. The idea is a prosaic one, and Correggios conceptionwas, no doubt, of a very different order. He had evidently madecareful studies from some living eagle. The accuracy of form, andfreedom and variety of attitude displayed in his five renderings of thebird in this one church are conclusive as to this. It is no longer thestiff, heraldic eagle of traditional art, with which every painter,Raphael in his Saint Cecilia not excepted, had hitherto been satisfied ;but the bird itself, in all its fierce and terrible grace. Now it is knownthat the eagle occasionally plucks out a feather from its wings. This.St. Johns eagle does at the .solemn moment when the Evangelist
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THK MARTYRDOM OF ST. PLACTDUS 219 bears witness to the power of God, and meditates on his glory anddominion throughout the ages. The eagle hastens to pull out thequill, for it is meet that the divine message should be written with thefeather that has soared nearest to heaven. Besides these numerous works in fresco, Correggio painted twopictures for the church, which are now in the Parma Gallery. They were originally on the side walls of the fifth chapelto the right, where they are now replaced by two wretched copies,and are said to have been painted for the founder of the chapel.Father Placido del Bono, of Parma, a member of the Coiifra-tcrnita Cassinese, and confessor to Pope Paul III.- They remainedin their original place until 1796, in which year they were in-cluded in the first consignment of French plunder, and taken toParis, whence they returned to Parma after the treaty of 1815.Their preservation was in no sense due to the monks, who at-tempted to carry them off and sell them i

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