The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . ly changed into our picture. Butthere are, on the other hand, too many evidencesin favour to deny the authorship of the great Lom-bard master by whose name the painting wasknown as early as 1579, when it was in the posses-sion of one of the courtiers of Philip II of Spain. The Crossbearing Christ (No. 60), whichhangs next to the Ganymede, only given to Cor-reggio with a query, has by Berenson been attrib-uted to Cariani, whom we will mee
The Vienna galleries : giving a brief history of the public and private galleries of Vienna ; with a critical description of the paintings therein contained . ly changed into our picture. Butthere are, on the other hand, too many evidencesin favour to deny the authorship of the great Lom-bard master by whose name the painting wasknown as early as 1579, when it was in the posses-sion of one of the courtiers of Philip II of Spain. The Crossbearing Christ (No. 60), whichhangs next to the Ganymede, only given to Cor-reggio with a query, has by Berenson been attrib-uted to Cariani, whom we will meet in the nextgallery. Correggios closest follower, Francesco Parmi-gianino, is exceptionally well represented. A self-portrait (No. 58), painted from a concave mirror,shows a youthful man with somewhat effeminatefeatures. This last of the real Renaissance paint-ers in North Italy had sufficient individuality tochange the sensuous femininity of his master intoa sterner and more sincere trait of elegance. Hisstrongest portrait here is one which by traditionis said to represent Malatesta Baglione (No. 67),but has been suggested with more reason to portray. CUPID TRIMMING HIS BOWFRANCESCO Imperial PARMIGIANINO Plate IV Museum ToFr IBLIG Ube Imperial flDuseum 35 Lorenzo Cibo, the Chief of the Papal the catalogue queries its own attributionwe must fully accredit this beautiful portrait toFrancesco. It is far more energetic than the por-trait of another man (No. 61), dressed in black,and holding a black barret in his right hand. TheSt. Catharine (No. 57), seated under a palm-tree, has the graceful slenderness of a Tanagrafigurine; while the Cupid trimming his Bow(No. 62. Plate IV) has that same delicacy of aterra-cotta statuette. This is a famous painting,and was originally held to be the work of Cor-reggio. The remaining paintings to be noticed in thisgallery are Venetian. The earliest Venetians received their inspirationin the first half of the 15th century from t
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Keywords: ., bookcentury1900, bookdecade191, booksubjectpainting, bookyear1912
