Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER VI CORREGGIOS EARLY WORKS IHL lk\NCIsC\M ALIAK riLCI \1 DkLsDEN—JUVENILE PICTUKES liY CORREGGIOAl MILAN, I \\ I \, MULU \ \, H(1KE\CL, MUNICH, bIGMAKINGEX, AND LONDON. THE first of Correggios\vorks mentioned in exist-ing records is the so-calledMadonna of San Francesco. Inhis will, dated July 4, 1514, acertain Quirino Zuccardi left ahouse to the Franciscan monas-tery at Correggio. This legacyhe directed should be used tocover the cost of a j)icture forthe high altar of the heir, Nicola Selli ofIarma, a
Antonio Allegri da Correggio, his life, his friends, and his time . CHAPTER VI CORREGGIOS EARLY WORKS IHL lk\NCIsC\M ALIAK riLCI \1 DkLsDEN—JUVENILE PICTUKES liY CORREGGIOAl MILAN, I \\ I \, MULU \ \, H(1KE\CL, MUNICH, bIGMAKINGEX, AND LONDON. THE first of Correggios\vorks mentioned in exist-ing records is the so-calledMadonna of San Francesco. Inhis will, dated July 4, 1514, acertain Quirino Zuccardi left ahouse to the Franciscan monas-tery at Correggio. This legacyhe directed should be used tocover the cost of a j)icture forthe high altar of the heir, Nicola Selli ofIarma, a citizen of Correggio,elected to keep the house. He ?^?1^? I-^ij ? i-a) offered to compound for its pos-session with a sum of ninety-five ducats, sixty-four soldi, to be paid. THE MADONNA Ol SAN FRANCESCO o;, to Girolamo Catanei, the Franciscan bursar and procurator, the moneyto l)e spent on the proposed picture. The offer was readily acceptedby the reverend bursar, who duly fixed a limit of time for the setde-ment. About six weeks later (August 30), Catanei, Antonio Zuccardi,Tommaso Affarosi, syndic of the monastery, and a notary, presentedthemselves at the house of Correggio, then a youth of barely twentyyears old, and commissioned him to paint the altar-piece. The agree-ment drawn up on this occasion gives a minor detail of some preliminaries were discussed and the contract made in thepainters modest bed-room on the ground-floor. Why, it may beasked, was not some more suitable place chosen—the monastery itself,the notarys house, the palace of the city ? The answer is are convinced that Allegri had already painted the 67. Martha(of which we shall have more to say presently) for the Church of theMisericordia, and that this picture
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
