. Antonio Allegri da Correggio, his life, his friends, and his time. St. Longinus, and St. Elizabeth, prostrating herself beforethe throne ; the little St. John stands on its base, which is ornamentedwith the figures of Adam and Eve in In the Franciscan altar-piece, Correggio decorates the base of theVirgins throne in like manner, and with the same subject, the fall ofEve. Under the throne on which Our Lady of Victory is seated, is afootstool ornamented with floriations and spirals, which reappears inCorreggios picture, where the ornaments are repeated on a simulatedmarble dado.
. Antonio Allegri da Correggio, his life, his friends, and his time. St. Longinus, and St. Elizabeth, prostrating herself beforethe throne ; the little St. John stands on its base, which is ornamentedwith the figures of Adam and Eve in In the Franciscan altar-piece, Correggio decorates the base of theVirgins throne in like manner, and with the same subject, the fall ofEve. Under the throne on which Our Lady of Victory is seated, is afootstool ornamented with floriations and spirals, which reappears inCorreggios picture, where the ornaments are repeated on a simulatedmarble dado. The small lateral columns of the bas-relief in the 1 LI pittor delle grazie, p. 244. 2 Attilio Portioli, La Chicsa e la Madonna della Vittoria di A. Mantegna in Mantova{Atti e Memorie del! Accademia Virgiliana. Mantua, 1884). See also this writers articlealready quoted, La vera storia di un dipinto celebre. 56 ANTONIO DA CORREGGIO one picture, support the sides of the throne in the other. We arewilling to allow that these coincidences may have been the result less. OUR LADY OF VICTORY. Altar-piece by Mantegna, in the Louvre. of deliberate imitation than of accident ; that both masters adoptedmotives in common use at the time, the properties, so to speak, of MANTEGNAS INFLUENCE ON CORREGGIO 57 their art. We will even admit that this identity of details was purelyaccidental and unpremeditated ; but what may be granted as regardsthe minor resemblances we have quoted, cannot be accepted as applic-able to the figure of the Virgin and certain portions of the Madonna of Mantegnas picture is transferred almost unalteredto that of the later master ; her head is inclined in the samedirection and at the same angle, her right arm extended over thefigure below, the foreshortened right hand outspread in a like gestureof protection ; the left supports the little body of the Child ; the left legis advanced, with the foot in profile, the right drawn back, the greattoe only restin
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