Antonio Allegri da Correggio, his life, his friends, and his time . association for this purpose andto carry out the work was noteasily obtainable in those days,and one of the subscribers wholived in Rome, and afterwardsleft a legacy to the chapel, hadto exert himself considerably be-in .1, w Ml,in, ^^ *? ^^^^ grautcd. Finally, iu the spring of 1555, the notaryCristoforo della Torre drew up the deed empowering the foundation. The oratory was subsequently decorated by Tinti, and two pictureswere painted for the side altars, one by himself, the other by theCremonese, Malosso. In 1S12, howev
Antonio Allegri da Correggio, his life, his friends, and his time . association for this purpose andto carry out the work was noteasily obtainable in those days,and one of the subscribers wholived in Rome, and afterwardsleft a legacy to the chapel, hadto exert himself considerably be-in .1, w Ml,in, ^^ *? ^^^^ grautcd. Finally, iu the spring of 1555, the notaryCristoforo della Torre drew up the deed empowering the foundation. The oratory was subsequently decorated by Tinti, and two pictureswere painted for the side altars, one by himself, the other by theCremonese, Malosso. In 1S12, however, the chapel was pulled downto make way for the barrier of San Michele. The beauty of the altar-fresco ensured its careful preservation ; It was clamped with irons, andtransferred to the gallery, where it still remains.^ I Pietro da Lama, Atti ih/P Aaadcmia e del Museo parmensL MSS. in tlic Museumof Iarma, i. pp. 186, 202, 217, and 230. Sec Aradoniia della Scala, documents in thearchives of the Parma Calleiy. The transfer was carried out by Pietro IHE MADONNA DELLA SCALA 245 Who commissioned Correggio to paint the fresco ? It does notappear from any existing records that it was ordered by the commune,to whom the gate belonged. It is well known, however, that a privatecitizen was often permitted to decorate a public monument, or someportion of it.
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
