. Antonio Allegri da Correggio, his life, his friends, and his time. HE CITY OF TARMA. In the Lille Museum. THE CONVENT OK SAN PAOLO 53 Correggio after completing the work, and remained there for a wholeyear, and that in 1520 he came back to Parma at the invitation ofthe Benedictines. We know indeed that he was at Correggio onJanuary 18, 1519, where he acted as witness to the deed of settle-ment by which the dowry of Oliva Chierici was conveyed to FrancescoAromani, his maternal uncle; a fortnight later he received a donationfrom the same uncle of a house and furniture, in the Borgo Vecchio,wit
. Antonio Allegri da Correggio, his life, his friends, and his time. HE CITY OF TARMA. In the Lille Museum. THE CONVENT OK SAN PAOLO 53 Correggio after completing the work, and remained there for a wholeyear, and that in 1520 he came back to Parma at the invitation ofthe Benedictines. We know indeed that he was at Correggio onJanuary 18, 1519, where he acted as witness to the deed of settle-ment by which the dowry of Oliva Chierici was conveyed to FrancescoAromani, his maternal uncle; a fortnight later he received a donationfrom the same uncle of a house and furniture, in the Borgo Vecchio,with a few acres of land ;in September he was pre-sent at the drawing up oftwo deeds by the notaryFrancesco Alfonso Bottoni;finally, he was at Correggio,as we know, in October,when the archpriest took hisreceipt for payment of allcharges connected with thealtar-piece he had paintedfor the church of various evidences allfavour the conjecture thatAllegri spent the greater partof the year 1518 at Parma,painting in the convent ofSan Paolo, and all the fol-. CLOISTER OF THE CONVENT OF SAN 1AOLO, PARMA. lowing year in Correggio, awaiting fresh commissions. Father Aff6 and Martini are of opinionthat the frescoes were painted in 1518, because the Abbess Giovannashealth gave way in 1519, and she was never able to leave her bedroom,where all convocations of the sisterhood were held, instead of in thechoir, or other parts of the convent. It is therefore highly probable,says Affo, that the frescoes were completed before this. ? 1 Pungileoni, ii. pp. 109, no, 127, and 146. 2 Ireneo Affo, Ragionamenti sopra una stanza dipinta da Antonio Allegri da Correggionel monastero di San Paolo in Parma, pp. 56-57. Parma, 1794. Martini, p. 76. X 154 ANTONIO DA CORREGGIO The argument is far from conclusive, for the abbess may verywell have been lodged in another part of the convent, or she mayhave kept her bed in the adjoining room, which Araldi had decoratedin 1514. The facts we have pointed
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