. Antonio Allegri da Correggio, his life, his friends, and his time. y in the treatment of the joints, the typeof the Virgin, of the angel, and of the slim putto who takes the placeof his robuster brethren in the Camera di San Paolo, or in the domeof San Giovanni—all proclaim the pictorial, and, as a consequence, the chronological con-nection betweenthese two worksand the frescoesin the cathedral,making it almostcertain that theywere executedabout the year i524- There has been a great diversity ofopinion as to theplace for whichthe Madonna del/aScala was origin-ally painted. Somedeclare it to
. Antonio Allegri da Correggio, his life, his friends, and his time. y in the treatment of the joints, the typeof the Virgin, of the angel, and of the slim putto who takes the placeof his robuster brethren in the Camera di San Paolo, or in the domeof San Giovanni—all proclaim the pictorial, and, as a consequence, the chronological con-nection betweenthese two worksand the frescoesin the cathedral,making it almostcertain that theywere executedabout the year i524- There has been a great diversity ofopinion as to theplace for whichthe Madonna del/aScala was origin-ally painted. Somedeclare it to havebeen the outer wallover the easterngate of Parma,whence it is sup-posed to havebeen removed and brought inside the city, an oratory being built forits preservation. Some say it was painted by Correggio on the wall ofa friends house, which stood on the ramparts near the church of SanMichele, and others, again, that it adorned a room of the 1 Ruta, Gicida di Parma, p. 72 ; Ratti, p. 76. See also Pungileoni, ii. p. 161, andMartini, pp. 108 and MADONNA DELLA SCALA (MADONNA OF THE STAIRCASE). Fresco by Correggio, in the Parma Gallery. THE MADONNA DELLA SCALA 243 Vasari says that Correggio painted Our Lady, with the Child inher arms, over one of the city gates ; the delicate colours of this frescowere a marvel to behold, and gained him infinite praise, even fromstrangers, who had seen none of his other works. x The testimonyof Vasari, who, passing through Parma in 1542, entered by this gate,and saw the fresco some twelve years before it was removed to theoratory, seems to us The painting was evidently neitheron the house of a private person nor in a room of the proofs are forthcoming if such be needed. In all plans of the city of Parma before 1812, the little shrine ofSanta Maria della Scala appears on the bastion confronting the Via diSan Michele, on the spot where the gate used to be before Paul the city wall
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