. Antonio Allegri da Correggio, his life, his friends, and his time. ents a hill, beyondwhich lies a wide plain. 1 I. Malaguzzi, Alcune cose tratte dai diari reggiani di Alfonso Visdomini (Reggio, nozze Fomaciari, Valentini). We owe this information to Professor N. Campanini. THE ALBINEA MADONNA i37 The picture is unmistakably a copy after Correggio. Even Meyerwas obliged to admit this, though he believed the original altar-pieceto have represented the birth of the Virgin. The facial types, thefolds of the draperies, the character of the composition, the attitudes,the landscape, all p
. Antonio Allegri da Correggio, his life, his friends, and his time. ents a hill, beyondwhich lies a wide plain. 1 I. Malaguzzi, Alcune cose tratte dai diari reggiani di Alfonso Visdomini (Reggio, nozze Fomaciari, Valentini). We owe this information to Professor N. Campanini. THE ALBINEA MADONNA i37 The picture is unmistakably a copy after Correggio. Even Meyerwas obliged to admit this, though he believed the original altar-pieceto have represented the birth of the Virgin. The facial types, thefolds of the draperies, the character of the composition, the attitudes,the landscape, all point to a work executed by Correggio at the sameperiod in which he painted the Repose in Egypt in the Uffizi, andthe Zingarella ofthe Naples other copies ofthe work are stillextant : one in theCampidoglio Gal-lery at Rome, theother in the Breraat In thelatter, the originalsignature on a stoneat St. Lucys feet isreproduced: Anton- IVS LAETVS FACI- ebat. That Cor-reggio habituallylatinised his namein this fashion weknow from docu-ments to which we. THE YOUNG MAN FLEEING FROM THE CAPTORS OF CHRIST. Copy, after Correggio. In the Parma Gallery. shall refer later on. The reproduction of this signature caused certain writers to upholdthe copy as the original. Otto Miindler among others expressed thisopinion, though it ran directly counter to the reasonable and unanimousconclusions of Morelli, Frizzoni, and 1 Ad. Venturi, La Galkria del Campidoglio, p. 39, Rome, 1890. G. B. Venturimentions another copy in his own possession, of which he gives a reproduction. See hisStoria di Scandiano, pp. 129-130, Modena, 1882. 2 Correggio, p. 87. 138 ANTONIO DA CORREGGIO The original has disappeared entirely, like the original of theYoung Man fleeing from the Captors of Christ. The latter was in theBarberini Gallery in the seventeenth century, and went from thence toEngland, where we lose all trace of its subsequent Several copies of this, as of the Albinea pictur
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