Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14779862124)

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



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:
the Palace at Signiaringen l-ARLY IlCrURES BY (ORREGGIO 103 draperies are in a lower key ; and it is curious to note the Mantc-o-nesque influence proclaiming itscit, 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 /lis 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 15 17,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 period. Attention was first drawn to this pic