Antonio Allegri da Correggio, his life, his friends, and his time . rt. The picture remained in itsplace for a long time. There is a legend that it was disfigured bya coat of dark varnish, to prevent it from being carried off like theMadonna of San Francesco and the Repose in Fgypt) If so, wecan only pity those who adopted an absurd expedient without ob-taining the desired result! The picture crossed the seas, the varnish,if it ever existed, was removed, and its original beauties are now-displayed to alien eyes. These early works, the dense and vigorous tones 01 which recallCosta in his second
Antonio Allegri da Correggio, his life, his friends, and his time . rt. The picture remained in itsplace for a long time. There is a legend that it was disfigured bya coat of dark varnish, to prevent it from being carried off like theMadonna of San Francesco and the Repose in Fgypt) If so, wecan only pity those who adopted an absurd expedient without ob-taining the desired result! The picture crossed the seas, the varnish,if it ever existed, was removed, and its original beauties are now-displayed to alien eyes. These early works, the dense and vigorous tones 01 which recallCosta in his second period, and Francia, are followed by a little series,of less importance as compositions, but lighter, more transparent, andmore limpid in colour. We may take the )oung /uuin, or Piping; S//ep//eri/, in the MunichGallery as the first of this series. Seated on a knoll at the foot of aclump of trees, he holds the pipe to his lips, and plays. To his Tiraboschi, vi. p. 256. Iungilconi, ii. j). 93; iii. pp. ;oi and 275. MaUini, S/iidiintorno al Correggio, ]). 72 iIAIiV MAGDALEN. MARTHA, AND S. I ihe Collection of Lard Ashburton. irrURKS l!V right lies a kind i)t lute ; on the opposite side, beyond the clusteringfoliage, opens a little valley with a browsing animal. The discortlanttones of the sky and mountains are remarkable, and the treatmentof the leaves is very curious, especially in the solitary tree to theleft, but this peculiarity is readily explained if we remember inwhat school Correggio received his first training. These, however,together with one or two other unusual traits, convinced Otto Mundlerthat the picture was the work of Pahiia Vecchio. Even Morelli sup-posed it to be \cnetian for some time, and suggested Lorenzo Lottoas the author. There arc, in fact, certain affinities between Correggioand the latter, especially in theillumination of certain pictures,which we consider purely acci-dental. Morelli aftervvards cor-rected his first impression, re-co
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
