. Antonio Allegri da Correggio, his life, his friends, and his time. fthe other!1 The sentiment which appealed to the more meretricioustaste of these ancient worthies is apt to strike the critic of to-day assomewhat artificial. The richly dressed Magdalen, who sinks to earthwith clasped hands, her head thrown back, the fair hair streaming overher shoulders, is certainly a very attractive figure, but the student wholooks for something more than this, and scrutinises the emotionalelements of the conception, perceives at once that the grief hereexpressed is a superficial sorrow, scarcely more tha
. Antonio Allegri da Correggio, his life, his friends, and his time. fthe other!1 The sentiment which appealed to the more meretricioustaste of these ancient worthies is apt to strike the critic of to-day assomewhat artificial. The richly dressed Magdalen, who sinks to earthwith clasped hands, her head thrown back, the fair hair streaming overher shoulders, is certainly a very attractive figure, but the student wholooks for something more than this, and scrutinises the emotionalelements of the conception, perceives at once that the grief hereexpressed is a superficial sorrow, scarcely more than skin-deep. Weneed say nothing of the black-robed Mary who supports the faintingVirgin, and the Joseph of Arimathsea who descends the ladder, thenails and pincers in his hand. They certainly add nothing to thebeauty of the picture. The background, on the other hand, is a beautiful and masterlystudy of a misty woodland, washed by recent rain, the sunlightbreaking over the tree-tops. 1 Fr. Scannelli, II Microcosmo della pit turn, p. 277. C. G. Ratti, op. at. p. ino leucothoe. (Fresco in the Camera di San Paolo at Parma.) CHAPTER X MINOR WORKS THE ECCE HOMO—CHRIST IN THE GARDEN OF GETHSEMANE— NOLI ME TANGERE —PICTURES OF THE MAGDALEN—r ST. CATHERINE READING ST. JOSEPH AND ST. JEROME AT this point in the lifeof Correggio it becomessomewhat difficult to fixthe exact date of his workswithout the aid of style was formed, his sym-pathies had declared themselves,his individuality stood these chronological difficultiesincrease, there is a proportionatefalling off in critical interest,which is naturally at its highest intracing the evolution of the artist,and languishes when confined tothe examination of single have seen that Allegri laid aside his frescoes in San Giovanni G G i^H Biff dhf ^^^^^^^^K M BB^ Mr «? fflQA iflff kJ^u. BHBfc^BaH. B^bw^ c T r^ r ^iJrL |_-4fcl putti. (Fresco in the Camera di San Paolo at Parma.) 226 ANTONIO DA CORR
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