. Antonio Allegri da Correggio, his life, his friends, and his time. clamber about them nor interpose between them with their accustomedgay assurance. The austerity of the two chief Apostles seems to holdthem in awe. The darkness which has reigned in this cupola for three and a halfcenturies, broken only by the scanty light of four small apertures, hasprevented a proper appreciation of these frescoes, and indeed, if we mayventure to sayso, of Correggiohimself. Thefamous PaoloToschi and hisscholars repro-duced these, aswell as all otherfrescoes by Cor-reggio, first inwater-colour andafterwards
. Antonio Allegri da Correggio, his life, his friends, and his time. clamber about them nor interpose between them with their accustomedgay assurance. The austerity of the two chief Apostles seems to holdthem in awe. The darkness which has reigned in this cupola for three and a halfcenturies, broken only by the scanty light of four small apertures, hasprevented a proper appreciation of these frescoes, and indeed, if we mayventure to sayso, of Correggiohimself. Thefamous PaoloToschi and hisscholars repro-duced these, aswell as all otherfrescoes by Cor-reggio, first inwater-colour andafterwards in en-gravings. Butmuch as we ad-mire their work,which is reallyremarkable, tak-ing into accountthe fact that cer- m <m. STUDY OF AN APOSTLE FOR THE CUPOLA OF SAN GIOVANNI EVANGELISTA,PARMA, BY CORREGGIO. In the tain injured por-tions had to betranslated, rather reproduced, it must be admitted that they very often made their ownimpressions, their own individuality, and the teachings of their school,do duty for a scrupulous adherence to the sentiment and featuresof the original. A certain academic air pervades their reproductions,giving a softness and polish to the whole which students have acceptedas characteristic of the master, and which have done much to justify theArcadian title of the painter of the Graces, as applied to Correggio. In 204 ANTONIO DA CORREGGIO reality, few works of the Italian Renaissance are more vigorous inconception, expression, and execution than the decorations of thiscupola. The figures of the Apostles and of the Redeemer preserve the justproportions of muscle in the vast scale on which they are designed, andare never weak nor slovenly in treatment. Michelangelo obtai
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Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkcscribnerss
