. Antonio Allegri da Correggio, his life, his friends, and his time. CERES. (Fresco in the Camera di San Paolo at Parma.) CHAPTER XI THE FRESCOES IN PARMA CATHEDRAL THE MADONNA DELLA SCALA —THE ANNUNCIATION—THE CUPOLA OF THE CATHEDRAL—THE PENDENTIVES AND THE BALUSTRADE -THE CANONS JEST DRAWINGS—THE FAME OF THE WORK BEFORE beginning thefrescoes in the cupola ofParma Cathedral, Cor-reggio executed two minor com-missions, the Annunciation andthe Madonna della Scala. Meyer supposed these twofrescoes to have been paintedprobably in 1520, either imme-diately before, or while the artistwas at work on
. Antonio Allegri da Correggio, his life, his friends, and his time. CERES. (Fresco in the Camera di San Paolo at Parma.) CHAPTER XI THE FRESCOES IN PARMA CATHEDRAL THE MADONNA DELLA SCALA —THE ANNUNCIATION—THE CUPOLA OF THE CATHEDRAL—THE PENDENTIVES AND THE BALUSTRADE -THE CANONS JEST DRAWINGS—THE FAME OF THE WORK BEFORE beginning thefrescoes in the cupola ofParma Cathedral, Cor-reggio executed two minor com-missions, the Annunciation andthe Madonna della Scala. Meyer supposed these twofrescoes to have been paintedprobably in 1520, either imme-diately before, or while the artistwas at work on the cupola ofSan Giovanni Evangelista. Hisascription of them to this dateseems to us a proof that he hadnot studied their technique veryThe blending of the colours, the perfect fusion of the 1 1. putti. (Fresco in the Camera di San Paolo at Parma.) carefully 242 ANTONIO DA CORREGGIO chiaroscuro, in which no trace of brushing is discernible, the form ofthe hands, with their long fingers, their sinuous lines and curves, andthe absence of all angularity 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
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