Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14766097264)

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



Text Appearing Before Image:
is as if the soul of the artist paused for a moment,alarmed at the pictorial boldness of his later efforts, with a touch ofregretful yearn-ing for tradition-al simplicity. Inall probability hepainted the pic-ture in Correg-gio, whither heretired towardsthe end of 1530,sorrowing for theloss of his wife,and disgustedwith epigramsand criticism.There, in hismodest butpeaceful home,surrounded byhis aged parents,his children, hisfellow - citizens,and near hisearly friend, Ve-ronica Gambara, his mind soothed and tranquillised by contemplationof the broad plains and ample horizons of his native territory, he musthave felt a desire to infuse something of the calm of soul and placeinto his works, and to return to his old ideals. He could not, indeed, retrograde from that breadth of treatment,that splendour of colour, and that technical mastery he had attained ;but it cannot be denied that this Madonna with St. George differsfrom the other pictures described in this chapter in the greater Q Q 2
Text Appearing After Image:
ST. AGATHA, ST. ANTHONY, ST. JOHNJTHE BAPTIST, AND ST. ROCH, BY CORREGGIO. Drawing in the Uffizi, Florence. 300 ANTONIO DA CORREGGIO simplicity of its composition, which has something of the old traditionalsymmetry of arrangement. In the arch which opens in the back-ground, in the regularity with which the figures are disposed, andeven in certain details, such as the stool under the Virgins feet, andthe little angel in monochrome who supports it, we discern a far-offecho of youthful conceptions.1 There is a drawing by Correggio in the Uffizi which is un-questionably authentic. It represents St. John with the lamb, andSt. Roch, seated in the foreground, against a background of woodylandscape ; and standing behind them, St. Agatha, with her breastson a plate, and St. Anthony with his pig at his feet. It is not known whether Correggio ever painted a picture withthese saints. Shortly before his death, however, he engaged to paintan altar-piece for Alberto Panciroli of Reggio, and received