File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14768363925).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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tonio d Agrate continued to carve the more delicate ornamenthimself, at the same time directing a troop of craftsmen, whose noisyhammers scaled and chipped the rough stone into the form of hugecolumns, cornices, pilasters, and altars within the church, and well-heads and fountains in the cloisters. The intense anxiety of the Benedictines to see the work completedshowed itself in the rapidity with which the various operations werecarried out. While as yet the interior of the church was a perfect i88 ANTONIO DA CORREGGIO forest of beams, scaffoldings, and cords, the decorators began theirwork. Cesare da Reggio commenced, perhaps, on the frieze of the transept, Pietro Ilario and Michele Mazzola frescoed the chapel of the Zangrandi with compositions which have now disappeared, and finally Marc Antonio Zucchi, master of perspective, carved and in laid thechoir stalls.1 The monastery has been turned into a barrack, and presentsa melancholy spectacle ! Rain, hail, and wind have worked their will
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INTERIOR OF SAN GIOVANNI EVANGELISTA, PARMA. on the phantom remnants of painting and sculpture, hardly sparingeven the marble reliefs of the door and windows of the chapter-house,carved with all the delicacy of antique cameos. The crumbling wellis overgrown with moss ; a feeble thread of water ■ trickles from the 1 We have carefully examined the books and papers of the archives of San GiovanniEvangelista, now in the Palatine Library at Parma. Many of the artists mentioned inthese are also spoken of in Angelo Pezzanas Storia di Parma. Parma, 1837-1839. THE CHURCH OF SAN GIOVANNI EVANGELISTA 189 Time has fountain ; the ruined arches are propped here and there with roughwooden piles. The harsh sound of the bugle, and the loud voicesof soldiers ring through the vaulted cloisters which once echoedto the chant of orisons, and the swell of an organ touched byPolidoro or Domenico della Musa. The frescoes of the corridors,cells, and great halls are hidden under a lavish coat of whitewash,and

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