Antonio Allegri da Correggio, his life, his friends, and his time . sopliic of nioclcrn times, it proved a dangerousprecedent for his successors. In copyii\o- or imitating Correggiosworks they were met in this instance li\ the insui)cral)Ie dirficultyof reproducing the sen-timent of the result has beenthat whereas there aremany fairly good copiesof the Brrc is not one of theDescent froii/ the Crosswhich is even further, we findthat those artists whomost successfullystudied and adoptedCorreggesque forms(Annibale Carracci, forinstance, and Lan-franco) accept
Antonio Allegri da Correggio, his life, his friends, and his time . sopliic of nioclcrn times, it proved a dangerousprecedent for his successors. In copyii\o- or imitating Correggiosworks they were met in this instance li\ the insui)cral)Ie dirficultyof reproducing the sen-timent of the result has beenthat whereas there aremany fairly good copiesof the Brrc is not one of theDescent froii/ the Crosswhich is even further, we findthat those artists whomost successfullystudied and adoptedCorreggesque forms(Annibale Carracci, forinstance, and Lan-franco) accepted theVirgin of the BcccHomo as the type ofthe ]\Iatcr Dolorosa. The emotion ex-pressed by the Saviouris less impressive. Hisis not the anguishborn of a conscious-ness of human weak-ness and misery, liut the individual agony of one who, sufferingacutely, has not sufficient fortitude to repress the external evidencesof his pain. The history of the original, like that of many other pictures byCorreggio, is a perfect maze of contradictions and inaccuracies. It G G 2. Cupoln of the Cathe11 the Vienna Museu 228 ANTONIO DA CORREGGIO seems certain, however, that it belonged in the first instance to theCounts Prati of Parma, in whose possession it was found by AgostinoCarracci (who engraved it in 15S7), and later, about the middle of the seventeenth century, byScannelli.^ When Mengssaw the Ecce Homo - in the(_^olonna Gallery at Rome,he declared it to be thepicture which had belongedto the Prati, but it doesnot appear that he hadany foundation for his as-sertion beyond the factthat a similar picture be-longed to the family in theS sixteenth and seventeenth L centuries. In the Inventory of the, , ^ , ,, ,,,-,„. ^, , Duke of Mantuas collec- Ij; llie Duke of Devon>.hiri: i Lolkctioii, Cliatsworth. tion, compiled in 1627,another Ecce Homo appears, claiming to be the original work byCorreggio,^ while Scannelli mentions a third in the Casa Salviati atFlorence.* Thus we see that there wer
Size: 1239px × 2018px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
