. Antonio Allegri da Correggio, his life, his friends, and his time. reg-gio, as we haveshown, probablyreturned to hisnative city, andspent the year1519 there, com-ing back to Par-ma in 1520 towork in thechurch of SanGiovanni Evan-gelista. Meyersupposes thepainter to havedone but littlework at thisperiod, his time being taken up by frequent journeys between Correggioand But as a fact, various documents show him to have been 1 The rooms decorated by Correggio and Araldi, and others adjoining them, werehanded over to the Accademia di Belle Arti by the municipality of Parma, November16, 1
. Antonio Allegri da Correggio, his life, his friends, and his time. reg-gio, as we haveshown, probablyreturned to hisnative city, andspent the year1519 there, com-ing back to Par-ma in 1520 towork in thechurch of SanGiovanni Evan-gelista. Meyersupposes thepainter to havedone but littlework at thisperiod, his time being taken up by frequent journeys between Correggioand But as a fact, various documents show him to have been 1 The rooms decorated by Correggio and Araldi, and others adjoining them, werehanded over to the Accademia di Belle Arti by the municipality of Parma, November16, 1810. In 1834, a scheme for the isolation of these rooms from the body of thebuilding was discussed. Eleven years later, when the new entrance and the west porch werefinished, the red velvet hangings obtained from Marie Louise de Bourbon were placedon the walls. See the MS. minutes of the R. Accademia di Belle Arti, vol. ii. p. 105 ;hi. pp. 108 and 193. Documents in the archives of the Parma Gallery (M. 1), under theheading Camere di San Paolo. 2 Correggio, p. FRAGMENT FROM THE HISTORY OF ST. JAMES, EV MANTEGNA. In the Cappella degli Eremitani, Padua. COPIES ASCRIBED TO THE MASTER 169 constantly in Correggio between January and October, 1519, whereasno records exist of his presence in Parma. The communication madeby the Abbe Mazza to Tiraboschi touching a sum of money paid toCorreggio by the Benedictines, omits all mention of the day or month,and as no entry of any such payment is to be found in the accountsof the monastery, there is reason to believe that the statement wasbased on a On the other hand, it seems certain that he was painting varioussmall works during this interval. Vasari says that he executedpictures and other paintings for patrons in Lombardy, and Armeninideclares that he himself saw several of these, which were held inthe highest honour {pnoratissimi)!1 It is not improbable, however, that works painted by his scholarsand imitators were asc
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