Antonio Allegri da Correggio, his life, his friends, and his time . s and bodies. In the smallVirgin and Child in the Uffizi (No. 1025) which the Medici ac-quired in the sixteenth century, Mantegna paints the Infant Jesusstruggling to get down from his mothers lap, impatient of herrestraining hands, a motive little in accordance with devotionalsentiment. Mantegnas and Correggios children have no long locks streamingupon their shoulders, and curling over their brows ; their ears andforeheads are nearly always bare ; their wide eyes are full of curiosity ;their little mouths half opened in wonde
Antonio Allegri da Correggio, his life, his friends, and his time . s and bodies. In the smallVirgin and Child in the Uffizi (No. 1025) which the Medici ac-quired in the sixteenth century, Mantegna paints the Infant Jesusstruggling to get down from his mothers lap, impatient of herrestraining hands, a motive little in accordance with devotionalsentiment. Mantegnas and Correggios children have no long locks streamingupon their shoulders, and curling over their brows ; their ears andforeheads are nearly always bare ; their wide eyes are full of curiosity ;their little mouths half opened in wonder. As Meyer justly remarks,the winged genii who hold up the inscription over the doorway riptych in the Uffizi. JiFANTKCNAS ]XI-I,UENCK ON 59 in tlui Camera dro/i S/>osi arc the true prc^cursors of Corr{go;ios In a chapel of the; Church of Sant Andrea at Mantua thereis a canvas by Mantegna, of lh(t Madonna with St. Joseph, , the Infant Jesus, the Httle St. John, and one of theMagi, painted against a Iiackgrountl of lemon and orange This work, now blackened and ruined by re-touching, we believeto have been, in its pristine splendour, a typical example of thoseMantegnesque creations which most strongly influenced our painter. ^ O/. df. ]). 67. Other writers besides Meyer have pointed out the affinity betweenthe Camera degli Sfosi in Mantua and the Camera di San Paolo at Parma, among themEastlake, Burton, Viscount Both de Tauzia, Paul Mantz, &c. 6o ANTONIO DA CORREGGIO The attitudes of the two seated babes, the extremities, the serenesmile of the Virgin, the type of St. Elizabeth, are all to be recognisedin the suaver and more gracious conceptions of Correggios earlyworks. If we the figures of the little St. John and theSt. Elizabeth, and compare them with those in Cav. Crespis picture,and if we further compare the older Saint with the Elizabeth inthe small picture at Sigmaringen, all doubts as to their affinity mustinevitably be resolved.
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
