Antonio Allegri da Correggio, his life, his friends, and his time . uses of amagazine, and restored to its ancient dignity. The church has fortunately suffered less severely. Time hasdimmed the lustre ofthe gilded ornamentsand paintings ; thechapel altars have beendespoiled of manyfamous works by Cor-reggio and Francia,but the structure hasbeen well preserved bythe care of the muni-cipality, the govern-ment, and those whoworship within its walls,and still arouses the In the Vienna Museum. wonder and admira-tion of visitors who come to see its frescoes by Allegri, Parmigianino,and Rondani, its
Antonio Allegri da Correggio, his life, his friends, and his time . uses of amagazine, and restored to its ancient dignity. The church has fortunately suffered less severely. Time hasdimmed the lustre ofthe gilded ornamentsand paintings ; thechapel altars have beendespoiled of manyfamous works by Cor-reggio and Francia,but the structure hasbeen well preserved bythe care of the muni-cipality, the govern-ment, and those whoworship within its walls,and still arouses the In the Vienna Museum. wonder and admira-tion of visitors who come to see its frescoes by Allegri, Parmigianino,and Rondani, its pictures by Temperclli, Anselmi, and GirolamoMazzola-Bedoli, and its precious terra-cottas by Antonio Begarelli,formerly in the monastery. The building operations were finished in 1519, and Bernardino daTorchiara then proceeded to plaster the walls of the nave and thecupola. When did Correggio begin to work in the church ? It appearsfrom the account-books of the monastery still extant, that no paymentswere made to him before July 6, 1520. On this date thirty gold. I go ANTONIO DA CORREGOIO ducats were handed over to him, being the first payment for thepainting of the cupola. ^ The monl<s had agreed to give him byinstalments a sum amounting altogether to a hundred and thirty goldducats, the price for which he had stipulated. The details of further work are indicated in subsequent find from these that the artist engaged to decorate the tribune ofthe apse for sixty-five ducats ; to gild the frieze and cornices, or causethem to be gilded, for five ducats ; - to ornament the pillars sup-porting the cupola, and the candelabra beneath, for six ducats ; finally,to paint the frieze running round the body of the cJuircIi {, thenave, with the pillars, the archivolts, and a// other spaces) for sixty-sixducats, as agreed with Father Basilio on the Feast of All Saints,1522. The total expense incurred by the Benedictines for the frescoesamounted, therefore, to two hundred an
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