. Antonio Allegri da Correggio, his life, his friends, and his time. nothing to excel it, caused Meyer to doubt the authenti-city of the Madrid example. He suggests that the original mayrather have been the picture of the same subject formerly in theQueen of Swedens collection, which passed into the Orleans Gallery,and so to Meyers opinion, however, found few supporters. The beautiful is one acquired by the National Gallery with the Angerstein collection in 1824, and onein the Uffizi, numbered 1088. It has been suggested that the example in London maybe a replica. For other copies se
. Antonio Allegri da Correggio, his life, his friends, and his time. nothing to excel it, caused Meyer to doubt the authenti-city of the Madrid example. He suggests that the original mayrather have been the picture of the same subject formerly in theQueen of Swedens collection, which passed into the Orleans Gallery,and so to Meyers opinion, however, found few supporters. The beautiful is one acquired by the National Gallery with the Angerstein collection in 1824, and onein the Uffizi, numbered 1088. It has been suggested that the example in London maybe a replica. For other copies see Pungileoni, i. p. 101 ; Meyer, pp. 335-336 ; Martini, \p. 209, and Lettera sopra uti dipinto del Correggio rappresentante Cristo nelP , 1801. 1 Mengs, ii. p. 177; Ratti, p. 120; Tiraboschi, vi. p. 280; Meyer, pp. 150-153 etseq. Richter, p. 26; M. C. Heaton, p. 32, etc. Vite, iv. p. 116; vi. p. 470. 3 P. 13. Bologna, 1844. i Vite, vi. p. 116, note 2; Mengs, p. 179 ; Pungileoni, i. pp. 103-104; ii. p. 151. 5 Correggio, p. 135 ei seq., and p. 356 et NOLI ME TANGERE. In the Museo del Prado, Madrid NOLI ME TANGERE 235 little canvas with figures half the size of life, in the Prado, is re-cognised as genuine, although it has suffered considerably, first bythe retouching of some early restorer, and latterly, by the severecleaning to which it was subjected by Jose Madrazo in order to removethe over-paints. Jesus, with hair flowing upon his shoulders, and along mantle, which falls from his shoulders to his feet, turns to lookat the Magdalen, pointing heavenwards. The latter, a richly dressedfigure, throws herself on her knees, and fixes a yearning gaze upon theSaviours face. A gardeners tools lie scattered on the ground. Treesand cliffs rise in the distance, and beyond, a broad valley with a fewbuildings. Gustavo Frizzoni writes thus of the picture : Although this workmust be reckoned among the first of those he painted after his achieve-ment of a perfectly independent
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