File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14745482616).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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the master, acting as his assistant inseveral of his works. He was born at Parma in 1490, and was there-fore several years older than Correggio. It has been asserted, on what evidence we knownot, that he died in1548. He was cer-tainly living at theend of Novemberof that year. Heis first mentioned,jointly with hisbrothers, in a willdated 1504 ; hethen appears aswitness to a deedof 1512, but he isnot described asmaster nor aspainter. He after-wards worked onthe decorations atTorchiara, and inSan GiovanniEvangelista, wherehe painted thefrieze designed byCorreggio. In 1522he was commis-sioned by the Chapter ot the cathedral to decorate a portion of thetransept, but he never carried out this work. Two years later hepainted several scutcheons in the governors palace. He then workedfor the Benedictines, decorating the cloister of the novices with scenesfrom the life of their patron saint; he also painted some frescoes inthe refectory, and decorated the soffits of one of the chapels of their
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MADONNA AND CHILD, WITH ST. AUGUSTINE AND ST. JEROME, DY RONDANI. Iii the Parma Gallery. FRANCESCO MARIA RONDANI 371 church. Between 1527 and 1531 he frescoed the walls of the Centonichapel in the cathedral ; he subsequently worked in the church of SantAlessandro, and collaborated with Anselmi in the decorations of thevault of the Oratorio della Concezione in San Francesco. Very fewof his easel pictures have survived. Some of these he signed withhis name, on othershe painted the threeswallows of his coatof arms. He fol-lowed Correggiosmanner as closely ashe could, but hisdrawing is oftencoarse, and his exe-cution slovenly. Hisworks have, how-ever, a certain viva-city of colour andbreadth of composi-tion, and in his land-scape backgroundshe shows a talentcertainly above theaverage.1 He was,however, greatly in-ferior, not only to hismaster, but to Michel-angelo Anselmi, whohad had the advan-tage of an early training in the Tuscan school. (See illustration on p. 367.) 1 The materials for

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