. Antonio Allegri da Correggio, his life, his friends, and his time. STUDY FOR THE MARTYRDOM OF ST. PLACIDUS AND ST. FLAVIA, BY CORREGGIO. In the Louvre. picture. The drawing, in red pencil, is now in the Acomparison of this, the painters first thought, with the finished work,is of great interest. We see how earnestly he sought to avoid apartly symmetrical arrangement, and give movement and variety tothe drama. In the study, the angel bearing the palm and crown of martyrdom 1 Acta Sanctorum, October 5. Giovanni Croiset, Le Vite dei Satiti, iii. p. , 1728. 2 This drawing was
. Antonio Allegri da Correggio, his life, his friends, and his time. STUDY FOR THE MARTYRDOM OF ST. PLACIDUS AND ST. FLAVIA, BY CORREGGIO. In the Louvre. picture. The drawing, in red pencil, is now in the Acomparison of this, the painters first thought, with the finished work,is of great interest. We see how earnestly he sought to avoid apartly symmetrical arrangement, and give movement and variety tothe drama. In the study, the angel bearing the palm and crown of martyrdom 1 Acta Sanctorum, October 5. Giovanni Croiset, Le Vite dei Satiti, iii. p. , 1728. 2 This drawing was also at Modena in the eighteenth century. Tiraboschi, vi. p. 3 = c THE MARTYRDOM OF ST. PLACIDUS 221 is exactly in the middle of the composition. Eutychius and Victorinus,kneeling side by side, their severed heads on the ground beforethem, form two monotonous lines, uniform as a pair of caryatids, theirbodies bent at exactly the same angle, the blood flowing in equalstreams from either neck, their arms bound in like fashion behindtheir backs. We shall see how greatly these two figures and that ofthe angel have gained by alteration in the picture. One executioner,about to aim a blow at the neck of St. Placidus, has placed himselfbehind the saint, in the most inconvenient position he could havechosen for the accomplishment of his evil task ; another, standingbeside St. Flavia, thrusts a sword into her breast. In the picture all this is altered. On a hill-side studded with oaksand bushes, and brightly illumined by a clear noon-day light, thekneeling saint, his arms folded on his breast, offers his neck, whichshows the gash of a previous wound, to
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