. Antonio Allegri da Correggio, his life, his friends, and his time. GIO. In the Prado, Madrid. LOST TRIPTYCH BY CORREGGIO 12 I after the terrible catastrophe of the capture of that city by the Frenchunder the haughty Gaston de The potential form of thisstatement, which lacks the confirmation of other documents, makes itof little value as evidence. It has been asserted by some writers that this picture wasoriginally in theoratory of theMisericordia. Ina manuscript let-ter quoted byTiraboschi andP u n g i 1 e o n i ,signed with thepseudonymPietro Rans, ofBerne, thesewords occur: There we
. Antonio Allegri da Correggio, his life, his friends, and his time. GIO. In the Prado, Madrid. LOST TRIPTYCH BY CORREGGIO 12 I after the terrible catastrophe of the capture of that city by the Frenchunder the haughty Gaston de The potential form of thisstatement, which lacks the confirmation of other documents, makes itof little value as evidence. It has been asserted by some writers that this picture wasoriginally in theoratory of theMisericordia. Ina manuscript let-ter quoted byTiraboschi andP u n g i 1 e o n i ,signed with thepseudonymPietro Rans, ofBerne, thesewords occur: There werealso two otherpictures in thesaid hospital bythe same painter,which, althoughearly works,were so greatlyprized that cer-tain ignorantofficials, fearing they might be carried off, caused them to be covered with a thickvarnish, which destroyed all their beauty. One of these twopictures, was, as we know, Lord Ashburtons St. Martha ; the otheris supposed to have been the Herodias. But Brunorios testimonyseems to us an insuperable obstacle to this belief. Without re-. THE MADONNA WITH THE TWO CHILDREN, BY CORREGGIO. At Frankfort-on-the-Main. 1 Bigi, Delia vita e delle opere, etc., p. 107. R 122 ANTONIO DA CORREGGIO ferring at all to the hospital, he expressly states that the picturebelonged originally to the Lords of Correggio, but that in his timeit was said to have passed into the hands of the Venetian noble, Now the Herodias was, as a fact, in Venice in 1666. Itfigures in an inventory drawn up in that year, of pictures included inNicolo Reniers lottery, from which it no doubt passed to the the pictures in this inventory we find another attributed toCorreggio : A nude figure of the Saviour seated upon a rainbow, andsurrounded by a glory of angels. This entry raises the question of another lost work of the high altar of the oratory of Santa Maria della Misericordiathere was once a triptych, the central panel of which represented Christthe Red
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