Antonio Allegri da Correggio, his life, his friends, and his time . nfinitevariety of perspective. In the middle of the vault, the trellis seems toopen, showing the sky above, and Jupiter, in mantle, crown, and sceptre,seated upon the eagle, who spreads his wings for flight, bearing withhim Ganymede. The youth clings to the eagles neck with one arm ;the rest of his body is entwined between the legs and wings of thebird. In the highest part of the sky appears a goddess in a little car Bigi, op. fit. \>. 9. Celcstino IMalagoli, Memorie itoriche su Lelio Orsi, ]). , 1892. FRESCOES
Antonio Allegri da Correggio, his life, his friends, and his time . nfinitevariety of perspective. In the middle of the vault, the trellis seems toopen, showing the sky above, and Jupiter, in mantle, crown, and sceptre,seated upon the eagle, who spreads his wings for flight, bearing withhim Ganymede. The youth clings to the eagles neck with one arm ;the rest of his body is entwined between the legs and wings of thebird. In the highest part of the sky appears a goddess in a little car Bigi, op. fit. \>. 9. Celcstino IMalagoli, Memorie itoriche su Lelio Orsi, ]). , 1892. FRESCOES AT NOVELLARA 129 drawn by white doves. The whole is foreshortened in Correggioswell-known manner ; the colours are so vivid and natural that the workmight have been completed only a few years ago. Some genii, alsomuch foreshortened, are ranged round the edge of the opening, andhang over the head of the si)ectator, who is tempted to catch them bythe legs, so boldly do they stand out from the vault. It is upon this central medallion, accordingly, that the burden of. proof devolves. Here we have the artistic document which shouldconvince us that the Antonio who painted Costanzas bower between1515 and 1518 was not Bartolotti, but Allegri. Fortunately, thisfragment of the fresco has survived. It was transferred to canvas in1845 by a certain Giovanni Rizzoli della Pieve di Cento, at DukeFrancesco command, and is preserved in the gallery at Malagoli, op. cit., p. 10. Ad. Venturi, Galkria estoise, p. 438. i,So ANTONIO DA CORRRGGIO To say that it is in Correggios manner seems to us a sufficientlygrave critical error ; but to class it among the masters juvenile worksargues an absolute incapacity for critical appreciation of any , followed by other writers, saw that it was impossible to make theevidences of the work itself and of the documents relating to it accordingly assigned it to the year 1530 approximately, believing herecognised in it Correggios lat
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