Antonio Allegri da Correggio, his life, his friends, and his time . Petersburg. It passed into the collection from thegallery of Count Briill, minister of Augustus III. of Poland. On the back of the pictureis written, Laus Deo: per Domta Matilde dEste Antonio Lieto da Correggio fece ilpreseniequadroper sua divozione, anno 1517. The inscription is not genuine. No Matilda ofEste flourished at the date mentioned. Even Mengs (ii. p. 170) and Tiraboschi(vi. p. 258) questioned its authenticity. Waagen pronounced unhesitatingly against Cor-reggios authorship of the work, which is no longer ascribed t
Antonio Allegri da Correggio, his life, his friends, and his time . Petersburg. It passed into the collection from thegallery of Count Briill, minister of Augustus III. of Poland. On the back of the pictureis written, Laus Deo: per Domta Matilde dEste Antonio Lieto da Correggio fece ilpreseniequadroper sua divozione, anno 1517. The inscription is not genuine. No Matilda ofEste flourished at the date mentioned. Even Mengs (ii. p. 170) and Tiraboschi(vi. p. 258) questioned its authenticity. Waagen pronounced unhesitatingly against Cor-reggios authorship of the work, which is no longer ascribed to the master. (Meyerp. 106. Venturi, La Ji. Galleria estense, p. 322.) - Correggio, p. 322. 172 ANTONIO DA CORREGGIO saints ; but these episodes, the introduction of which was still sanctionedby custom, are slightly indicated, and of small dimensions. They areimmersed in shadow, and so arranged as not to distract attention fromthe principal subject. . Beneath the light amber veil which time hasdrawn over the picture, we discern the cool and silvery colour, the. Signor Paolo Fabrizi, Ro azure reflections, the opalescent glint, as of mother-of-pearl, and thewhole gamut of delicate gradations that lurks in the mysterious chiaros-curo. Giihh (h- VAiiiah-ur ail Afi/scc dii Louvre. Paris, 1S82. G. Lafenestre and E,Richtenbcrgcr, Lc Music National du Louvre, p. 45. Paris, 1893. THE MARRIAGE OF ST. CATHERINE 173 Though the less fully developed types of the Saint Cat/icriiic areconclusive as to its priority, there are certain close affinities betweenthis picture and the so-called Sain/ Jerome Madonna, of which we shallspeak further on. These are most evident in the modelling of theInfants little body, in the attentive expression of his face, and, above
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Keywords: ., bookauthorriccicor, bookcentury1800, bookdecade1890, bookyear1896
