. Antonio Allegri da Correggio, his life, his friends, and his time. ce. Permission to form anassociation for this purpose andto carry out the work was noteasily obtainable in those days,and one of the subscribers wholived in Rome, and afterwardsleft a legacy to the chapel, hadto exert himself considerably be-fore it was granted. Finally, inthe spring of 1555, the notaryCristoforo della Torre drew up the deed empowering the foundation. The oratory was subsequently decorated by Tinti, and two pictureswere painted for the side altars, one by himself, the other by theCremonese, Malosso. In 1812,
. Antonio Allegri da Correggio, his life, his friends, and his time. ce. Permission to form anassociation for this purpose andto carry out the work was noteasily obtainable in those days,and one of the subscribers wholived in Rome, and afterwardsleft a legacy to the chapel, hadto exert himself considerably be-fore it was granted. Finally, inthe spring of 1555, the notaryCristoforo della Torre drew up the deed empowering the foundation. The oratory was subsequently decorated by Tinti, and two pictureswere painted for the side altars, one by himself, the other by theCremonese, Malosso. In 1812, however, the chapel was pulled downto make way for the barrier of San Michele. The beauty of the altar-fresco ensured its careful preservation ; it was clamped with irons, andtransferred to the gallery, where it still 1 Pietro da Lama, Atti dell Accademia e del Museo parmensi. MSS. in the Museumof Parma, i. pp. 186, 202, 217, and 230. See Madonna della Scala, documents in thearchives of the Parma Gallery. The transfer was carried out by Pietro MADONNA DELLA SCALA, BY the Weimar Museum. THE MADONNA DELLA SCALA 245 Who commissioned Correggio to paint the fresco ? It does notappear from any existing records that it was ordered by the commune,to whom the gate belonged. It is well known, however, that a privatecitizen was often permitted to decorate a public monument, or someportion of it.
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