. Antonio Allegri da Correggio, his life, his friends, and his time. the philosopher. (Fresco in the Camera di San Paolo at Parma ) CHAPTER VII A PAINFUL INTERLUDE TRANSITION PERIOD—THE REPOSE IN EGYPT IN THE UFFIZI—LA ZINGARELLA—THE MADONNA WITH THE TWO CHILDREN IN THE PRADO AT MADRID—THE HOLY FAMILY WITH ST. JAMES AT HAMPTON COURT THE MADONNA OF CASALMAGGIORE —LOST PICTURES—THE HERODIAS THE TRIPTYCH OF THE REDEEMER—CORREGGIOS SUPPOSED JOURNEYS TO CARPI AND NOVELLARA—THEALBINEA PICTURE AND THE YOUNG MAN FLEEING FROM THE CAPTORS OF putti. (Fresco in theCamera di San Paolo at Parma.) I
. Antonio Allegri da Correggio, his life, his friends, and his time. the philosopher. (Fresco in the Camera di San Paolo at Parma ) CHAPTER VII A PAINFUL INTERLUDE TRANSITION PERIOD—THE REPOSE IN EGYPT IN THE UFFIZI—LA ZINGARELLA—THE MADONNA WITH THE TWO CHILDREN IN THE PRADO AT MADRID—THE HOLY FAMILY WITH ST. JAMES AT HAMPTON COURT THE MADONNA OF CASALMAGGIORE —LOST PICTURES—THE HERODIAS THE TRIPTYCH OF THE REDEEMER—CORREGGIOS SUPPOSED JOURNEYS TO CARPI AND NOVELLARA—THEALBINEA PICTURE AND THE YOUNG MAN FLEEING FROM THE CAPTORS OF putti. (Fresco in theCamera di San Paolo at Parma.) IN the life of every man thereis a transition period, aterrible interlude of depres-sion and unrest from which thereis no escape. He enters uponit when he ceases to be a boy,but is as yet hardly a man. Anill-defined craving for happinesskeeps him in a state of perpetualtension. The blood seems torush, hot and tumultuous, throughhis veins. In strange contrastto the still childish cast of histhoughts in general, visions of PICTURES PAINTED IN 1515 — 1518 113 art and poetry dawn within his soul. He begins to love the solitudeof the country and of the sea ; in the floating clouds above him hediscerns figures of monstrous beasts, or rivers and snow-clad moun-tains. The world spreads out her beauties and pleasures before him ;but he is sad, tormented by an inexplicable melancholy, an unreason-able resentment. Now this strange phase of transition in the physicaland moral being frequently has its spiritual counterpart in the aestheticdevel
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