Antonio Allegri da Correggio, his life, his friends, and his time . Scutellari. - F/A-, iv. p. 114. 3 Fra Giovanni Francesco Malazappi da Carpi, Croniche della provincia di Bolognadci Frati Minori OsservajtU compostc nd 1580. MS. in the archives of the province ofBologna, fol. 170. Baistrocchi, Notizic dei pittori, MS. no. 1106, in the Miscellanea, inthe Royal Library of Parma. Rata, Gitida, p. 19. La Madonna Annitnciatn, papers in the archives of the picture gallery of \. Rondani wrote of this work in the French journal LAr/, vi. p. 73 (Paris, 1S76), andin the Gazzetta dltalia, no. 84
Antonio Allegri da Correggio, his life, his friends, and his time . Scutellari. - F/A-, iv. p. 114. 3 Fra Giovanni Francesco Malazappi da Carpi, Croniche della provincia di Bolognadci Frati Minori OsservajtU compostc nd 1580. MS. in the archives of the province ofBologna, fol. 170. Baistrocchi, Notizic dei pittori, MS. no. 1106, in the Miscellanea, inthe Royal Library of Parma. Rata, Gitida, p. 19. La Madonna Annitnciatn, papers in the archives of the picture gallery of \. Rondani wrote of this work in the French journal LAr/, vi. p. 73 (Paris, 1S76), andin the Gazzetta dltalia, no. 84 (Venice, 1876). 248 ANTONIO DA CORREGGIO from the open book on the desk before her, she listens, with chaste,downcast eyes.^ {Sfc headpiece to contents, p. xi.) We may now pass on to Correggios greatest work. Down to the kist years of the fifteenth century the interior of ParmaCathedral was characterised by all the bare austerity usual in Roman-esque churches. There were, of course, pictures and triptychs over. the altars ; a few frescoes, the offerings of certain devout persons,adorned the walls of some of the chapels. The greater partof the transept was decorated ; - but the vast main building, that is tosay, the vaults of the three aisles, the walls of the nave, the cupola, 1 A Correggesque drawing in sanguine in tlie Louvre, squared out for enlargingseems to represent an Annunciation. It does not, however, correspond with the lunettedescribed, which agrees more closely with a drawing in the Ambrosiana at Milan, ascribedto Correggio, but more probably by some pupil or imitator (see page 270). ^ In the deed of 1522, assigning the decoration of a certain part of the transept toParmigianino and Anselmi, the following words occur : Rcmovendo illas picliiras quae suntde praesenti, or de l^ me senti exist elites. PARMA CATHEDRAL and the presbytery were all subdued and colourless, displayinq- thtarchitectural lines in severe simplicity. h
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