File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14766086774).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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or the frames of altar-pieces, and even for thealtars they were to adorn. Girolamo Mazzola-Bedoli delighted inwork of this kind. On the frame of the Madonna delta Scodella,especially in the frieze, we find the decorative motives Correggioaffected, such as sea-shells, cornucopias, skulls, and cherubs heads, allof which he introduced in the ornament of his frescoes in the Cameradi San Paolo, and in the cathedral. It is not exactly known who carved it. The style of the execution,and the date, suggest the name of Gian Francesco Zucchi, whocarved the frame for the Conception at about this time, in the samestyle, putting the same plaster preparation on the wood, and gilding itin the same manner. Many writers have supposed, and still suppose, that the picturerepresents an episode of the Flight into Egypt, whereas it reallydeals with an incident of the Return from Egypt. The Babe is no 1 Bianconi also bought pictures for Augustus III. 2 Tiraboschi, vi. pp. 270-271. Madonna della Scodella. ■
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THE MADONNA DELLA SCODELLA 287 longer in his first infancy, and St. Joseph and the mother are calm andcheerful, as if they had no further cause for fear or anxiety. Scannelliwas perhaps the first who grasped the real significance of the compo-sition : the picture, he says, shows how the Blessed Virgin returnedwith the youthful Jesus and St. Joseph to Nazareth from Egypt, whitherthey had fled from the persecution of Herod, and how, halting on theirway in an open plain, in which was a palm-tree, with dates, the goodSt. Joseph gathered some of the fruit to satisfy the hunger of the HolyChild. 1 The subject of this work, which Vasari calls a divine picture withmarvellous figures,2 is taken from one of the apocryphal gospels,which relates how, when the Holy Child and his parents were ex-hausted with their journey, a palm-tree bent down to offer its fruit,while from the parched ground at their feet a limpid fountain gushedforth.3 From the pleasing and gracious elements of this legend the pa

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