Antonio Allegri da Correggio, his life, his friends, and his time . symbols .uid mottoes. The central 1 Dcsmzionc dcllc pilturc, iculinn- cJ anhiUttiiic di Maulova, yy. 35, 49. 5°. ^i-! 54-Mantua, 1763. ^ Carlo dArco, op. cit. i. jip. 6o-6j. • Iiraboschi, vi. p. 244. ?• Sec article quoted, the Gazette des Jh-m/.x .his, and Correggius Frescoes i/i theCastle of Ma/itiia, a letter to G. B. Intra in the journal La Ferseveransa, year .\.N.\ i:!,753- ^li-^. Al>l o. 895- FRESCO IN THE CASTLF. OF MANTUA y;, disc simulates a kind of octagonal terrace like that of the Camera dcoliSposi, with b
Antonio Allegri da Correggio, his life, his friends, and his time . symbols .uid mottoes. The central 1 Dcsmzionc dcllc pilturc, iculinn- cJ anhiUttiiic di Maulova, yy. 35, 49. 5°. ^i-! 54-Mantua, 1763. ^ Carlo dArco, op. cit. i. jip. 6o-6j. • Iiraboschi, vi. p. 244. ?• Sec article quoted, the Gazette des Jh-m/.x .his, and Correggius Frescoes i/i theCastle of Ma/itiia, a letter to G. B. Intra in the journal La Ferseveransa, year .\.N.\ i:!,753- ^li-^. Al>l o. 895- FRESCO IN THE CASTLF. OF MANTUA y;, disc simulates a kind of octagonal terrace like that of the Camera dcoliSposi, with boy genii leaning over a balustrade, and one hoveringin the midst. The pendentives are decorated with symbolic repre-sentations of the four quarters of the globe, and the lunettes, whichformerly filled the spaces above the presses or wardrobes, are paintedin monochrome. Whatever the date to which these paintings may be assigned,one thing is certain. Neither in proportion, colour, sense ofornament, nor type of figure have they the slightest affinity with the. art of Correggio. We should search in vain among his works forany one of the characteristic features of these frescoes, hair paintedupon a crude red ground, eyes encircled by dark lines, thin legs withexaggerated curves in outline, long, sinuous figures, an afifected graceof attitude, and finally, a very individual type of foot, with slendertoes, the great toe much longer than the rest—a type difteringessentially from the short, compact foot of Correggios youthfulgenii. The foreshortening is very often faulty. One of the twoboys in the foreground has an impossibly short arm ; the other, ricketylegs. The figure of the console to the left of the window is singularly 74 ANTONIO DA CORREGGIO squat and clumsy la drawing. Not one among the band of childrenapproaches the joyous, robust type of Correggios/«///. They display,indeed, all the sedate affectation of court pages. The trivial ornament, with heads of lions modelled
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
