. Antonio Allegri da Correggio, his life, his friends, and his time. have been, in its pristine splendour, a typical example of thoseMantegnesque creations which most strongly influenced our painter. 1 Op. cit. p. 67. Other writers besides Meyer have pointed out the affinity betweenthe Camera degli Sposi in Mantua and the Camera di San Paolo at Parma, among themEastlake, Burton, Viscount Both de Tauzia, Paul Mantz, &c. 6o ANTONIO DA CORREGGIO The attitudes of the two seated babes, the extremities, the serenesmile of the Virgin, the type of St. Elizabeth, are all to be recognisedin the suaver a
. Antonio Allegri da Correggio, his life, his friends, and his time. have been, in its pristine splendour, a typical example of thoseMantegnesque creations which most strongly influenced our painter. 1 Op. cit. p. 67. Other writers besides Meyer have pointed out the affinity betweenthe Camera degli Sposi in Mantua and the Camera di San Paolo at Parma, among themEastlake, Burton, Viscount Both de Tauzia, Paul Mantz, &c. 6o ANTONIO DA CORREGGIO The attitudes of the two seated babes, the extremities, the serenesmile of the Virgin, the type of St. Elizabeth, are all to be recognisedin the suaver and more gracious conceptions of Correggios early-works. If we examine the figures of the little St. John and theSt. Elizabeth, and compare them with those in Cav. Crespis picture,and if we further compare the older Saint with the Elizabeth inthe small picture at Sigmaringen, all doubts as to their affinity mustinevitably be The field of such investigations might be indefinitely of the flagellants in Mantegnas engraving of Christ at the. HOLY FAMILY. By Mantegna, in the Church of Sant Andrea, Mantua. Column suggested the vigorous pose of the executioner with his back turned to the spectator, who is killing St. Placidus, in Correggios picture in the Parma Gallery. The head of the Saviour in glory, rising from among the worshipping Apostles, in the cupola of San Giovanni Evangelista in the same city, recalls Mantegnas dead Christ in the Brera, which was at Mantua till 1630. Superficial 1 Fritz Harck, Quadri italiani nelle gallerie private di Germania (Archivio storicodelt Arte, vol. vi., p. 390. Rome, 1893). It may indeed be said that the type of in Correggios early works is one we recognise in many of Mantegnas also No. 51 in the Dresden Gallery. MANTEGNAS INFLUENCE ON CORREGGIO 61 dissimilarity, arising from the splendour of colour and the glowingeyes in Correggios figure, fails to disguise the identity of type in thesetwo heads
Size: 2043px × 1224px
Photo credit: © Reading Room 2020 / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1890, bookpublishernewyorkcscribnerss
