. Antonio Allegri da Correggio, his life, his friends, and his time. first time, writes Venturi, that we have succeeded in findingany mention of the famous picture Morelli now ascribes to Adrien vander Werff. The document above quoted throws considerable doubt onthe famous critics conclusions. It is, indeed, not unreasonable tosuppose that if there was a picture at Modena in 1682 ascribed toCorreggio, it had probably been there for some time. But supposingit to have been in the city only ten years, the Dutch master was aboy of thirteen in 1672, and this picture, even if a copy, was neverpainte
. Antonio Allegri da Correggio, his life, his friends, and his time. first time, writes Venturi, that we have succeeded in findingany mention of the famous picture Morelli now ascribes to Adrien vander Werff. The document above quoted throws considerable doubt onthe famous critics conclusions. It is, indeed, not unreasonable tosuppose that if there was a picture at Modena in 1682 ascribed toCorreggio, it had probably been there for some time. But supposingit to have been in the city only ten years, the Dutch master was aboy of thirteen in 1672, and this picture, even if a copy, was neverpainted by any boy of thirteen. If, however, we accept the desperate hypothesis that the picturewas bought by the Duke of Modena the same year that Lelmi wishedto copy it, we must still remember that Van der Werff was onlytwenty-three at the time ; and it is hardly credible that a picture by theyoung Dutchman should already have become famous as the workof Correggio. T 1 Ad. Venturi, La R. Qalleria esfense, pp. 290, 29T, 308, 359 St. Catherine Readino-. (HAMPTON CO ;:.). v , Leipzig (Germany PRINTS OF St. JEROME AND ST. JOSEPH *39 No question has ever been raised as to the authenticity of theReading St. Catherine at Hampton Court. The author of the Guideto the Italian Pictures of this collection assigns it to Correggioslast years, pronouncing it a work of the most refined sensibility,and very modern in feeling. No trace of archaism indeed appearsin the delicate face or in the technical We must not conclude without any mention of two old engravingsin a volume in the Palatine Library at Parma, which contains manyreproductions, new and old, of Correggios works. The two inquestion form a pair, and are indicated in the catalogue as of greatvalue. One represents St. Joseph, reclining on the ground, his carpenterstools around him. He raises himself on his left elbow, surprised bythe apparition of two The subject of the other is St. Jeromein the desert, gazing at
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