. Antonio Allegri da Correggio, his life, his friends, and his time. ood taste. Many traits which are perfectly logical in the angel,cease to have any fitness when adapted to the Ganymede. Thus, toavoid any alteration in the curve of the arm, and to evade the necessityof showing the right hand, we have a Ganymede who has not beenseized and carried off by the eagle, but who clings to the bird, and soars upwards withall the serenityof a practisedaeronaut. Theeagle certainlygrasps him inhis talons, butonly by theclothes, anaction whichwould natur-all y havedrawn themtightly roundhis body underthe
. Antonio Allegri da Correggio, his life, his friends, and his time. ood taste. Many traits which are perfectly logical in the angel,cease to have any fitness when adapted to the Ganymede. Thus, toavoid any alteration in the curve of the arm, and to evade the necessityof showing the right hand, we have a Ganymede who has not beenseized and carried off by the eagle, but who clings to the bird, and soars upwards withall the serenityof a practisedaeronaut. Theeagle certainlygrasps him inhis talons, butonly by theclothes, anaction whichwould natur-all y havedrawn themtightly roundhis body underthe arms. Nosuch strain,however, is tobe highlights are dis-tributed in aprecisely simi-Ilar fashionover thebodies of the angel and of the Ganymede. Yet it is evident that the Ganymede sleft arm is partly in the shadow of the eagles head and neck, whereasthe light strikes full on that of the angel. A more obvious absurdity isapparent in the arrangement of the drapery. In the downward flightof the angel, his garment naturally flutters behind him, sweeping. STUDY FOR THE GANYMEDE. In the Weimar Museum. VICE AND VIRTUE 321 upwards. The same lines are preserved in the drapery of theGanymede, in direct contradiction to his supposed ascent through theair. The physical laws of aerial motion could not have escapedCorreggio, who in every other case has noted them with the utmostprecision. If in addition to all this we remember the old attribution ofthe picture to Parmigianino, which Meyer noted when he ranked itas among the least important of Correggios works, we may be per-mitted to confess our doubts as to its originality. In the WeimarMuseum there is a pen drawing in bistre, agreeing in all respects withthe picture, save that the group is reversed, and if this is to be acceptedas the study preliminary, we have an additional argument againstthe authenticity of the work, for the drawing is certainly not byCorreggio. We are loth to pronounce with the. same confidenceagainst th
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