. Antonio Allegri da Correggio, his life, his friends, and his time. in Parma during his time that the Marchese, having sent hispicture to France to gratify a certain great personage, had a copyreturned to him instead of the original work. This fable, constructed on popular rumours collected by Tiraboschiand Affo, was demolished in 1810 by Angelo Mazza, who informedPungileoni that the Marchese Marcello Prati (as appears from hiswill, dated 1680) sold theEcce Homo and other picturesfor five or six thousandzecckini, a step to whichhe was compelled by thenecessity of paying off thedebts by which
. Antonio Allegri da Correggio, his life, his friends, and his time. in Parma during his time that the Marchese, having sent hispicture to France to gratify a certain great personage, had a copyreturned to him instead of the original work. This fable, constructed on popular rumours collected by Tiraboschiand Affo, was demolished in 1810 by Angelo Mazza, who informedPungileoni that the Marchese Marcello Prati (as appears from hiswill, dated 1680) sold theEcce Homo and other picturesfor five or six thousandzecckini, a step to whichhe was compelled by thenecessity of paying off thedebts by which his patrimonywas encumbered. The willitself is not forthcoming, buta deed executed by CountFederigo Prati some fiveyears earlier, proves that theEcce Homo was still in thepossession of the familywhen Louis XIV. had beendead some sixty years. All this, however, as Pungileoni noted, though it discredited that partof the story which reflected on the French King, threw no additionallight on the subsequent history of the picture. It remains uncertain 1 Vol. v. p. STUDY OF CHILDREN, BY CORREGGIO. In the Duke of Devonshires Collection, Chatsworth. 230 ANTONIO DA CORREGGIO whether it passed to the Marchesi della Rosa or to the Baiardi, andwhether it is to be identified with the work which was one of theproudest possessions of the Colonna Gallery. x Pungileonis doubtswere inspired by the Mazza above mentioned, who had been unable todiscover any documents expressly stating that the Marchese Prati had sold this and other picturesto the Colonna family, aswas generally believed. No further proofs haveyet come to light, and thedoubts expressed by Pun-gileoni are by no means un-reasonable. It is certain, however,that the Ecce Homo of theNational Gallery is the pic-ture formerly in the ColonnaGallery. It was sold by thefamily to Sir Simon Clarke,who, finding it impossible totake it out of Italy, passed iton to Murat, then King ofNaples. His widow, Caro-line Bonaparte, sold it in1834 to t
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