. Antonio Allegri da Correggio, his life, his friends, and his time. s treatment of landscape, as in theminute rendering of every stone and leaf, his peculiarities of type, as inthe long nails, their edges catching the light. Even the surface cracks,he remarks, agree exactly with those in Adrien van der Werffs pictures. ?«J 1. s^«B*^ W^-^tJ ^^B ?iiJl&i&f&finb^k^^ *£«<! iRjfl !j?^^h^ W -? ^W l . . .. St READING MAGDALEN, FORMERLY ASCRIBED TO CORREGCIO. In the Dresden Gallery. Deferring, however, to some lingering doubt, he adds the following :It may be, perhaps, that the picture was not pain
. Antonio Allegri da Correggio, his life, his friends, and his time. s treatment of landscape, as in theminute rendering of every stone and leaf, his peculiarities of type, as inthe long nails, their edges catching the light. Even the surface cracks,he remarks, agree exactly with those in Adrien van der Werffs pictures. ?«J 1. s^«B*^ W^-^tJ ^^B ?iiJl&i&f&finb^k^^ *£«<! iRjfl !j?^^h^ W -? ^W l . . .. St READING MAGDALEN, FORMERLY ASCRIBED TO CORREGCIO. In the Dresden Gallery. Deferring, however, to some lingering doubt, he adds the following :It may be, perhaps, that the picture was not painted by Van derWerff himself, but by some contemporary and fellow-countryman. In nocase, however, can it be accepted as the work of an Italian ; much lessof an Italian who flourished in the first thirty years of the sixteenthcentury. It may, however, be a copy by some foreign artist of theseventeenth century, from an original of the school of the Carracci. Morellis opinion may be implicitly relied on as far as Correggios ANTONIO DA CORREGGIO. ST. JEROME. From an engraving in the Palatine Library, Parma. authorship of the work is concerned. But we think he is mistaken inattributing it to Adrien van der Werff. There is a copy of the picture at Reggio, painted in the first half of the sixteenth cen-tury, as the Uffizicopy appears tohave been, thoughprobably not byBronzino, as wasformerly sup- posed. But evenadmitting that nogreat weight canbe attached to thishypothetical date,we cannot refuse a certain importance to the persistence with which a certain SimonLelmi, a painter of Citta di Castello, asks for leave to copy CorreggiosMagdalen, in a letter written in 1682, and recently published. Thisis the first time, writes Venturi, that we have succeeded in findingany mention of the famous picture Morelli now ascribes to Adrien vander Werff. The document above quoted throws considerable doubt onthe famous critics conclusions. It is, indeed, not unreasonable tosuppose that if there
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