Antonio Allegri da Correggio, his life, his friends, and his time . does in pictures representing the episodeof her birth. Subsequent events prove that the Madonna returned in safety to her altar. We knowthat Francesco her there,and that he re-moved her, sub-stituting Boulan-gerscopy. Nowthis copy wasfixed into theflorid baroquestucco ornamentwith which thechurch was de-corated at itsrestoration, andhas remainedthere ever since,In the Brcra, Milan. as various docu- ments bear wit-ness. It still , though in a ruinous condition. The Virgin sits under a clump of trees, supporting t
Antonio Allegri da Correggio, his life, his friends, and his time . does in pictures representing the episodeof her birth. Subsequent events prove that the Madonna returned in safety to her altar. We knowthat Francesco her there,and that he re-moved her, sub-stituting Boulan-gerscopy. Nowthis copy wasfixed into theflorid baroquestucco ornamentwith which thechurch was de-corated at itsrestoration, andhas remainedthere ever since,In the Brcra, Milan. as various docu- ments bear wit-ness. It still , though in a ruinous condition. The Virgin sits under a clump of trees, supporting the Childin her arms. To the right stands St. Lucy, her eyes on a plate in onehand, in the other the palm of martyrdom. On the opposite side isSt. Mary Magdalen, the box of ointment in her right hand, her lefthand upon her breast. The background represents a hill, beyondwhich lies a wide plain. 1 I. Malaguzzi, Aktme cose tratte dai diari reggiani di Alfonso Visdomtni (Reggio, nozze Fornaciari, Vakntini). We owe this information to Professor N. THE ALBINEA MADONNA 137 The picture is unmistakably a copy after Correggio. Even Meyerwas obliged to admit this, though he beheved the original altar-pieceto have represented the birth of the Virgin. The facial types, thefolds of the draperies, the character of the composition, the attitudes,the landscape, all point to a work executed by Correggio at the sameperiod in which he painted the Repose in Es^ypt in the Uffizi, andthe Ziiigarclla ofthe Naples other copies ofthe work are stillextant : one in theCampidoglio Gal-lery at Rome, theother in the Breraat Milan.^ In thelatter, the originalsignature on a stoneat St. Lucys feet isreproduced: Anton- IVS L.\ETVS FACI- EBAT. That Cor-reggio habituallylatinised his namein this fashion weknow from docu-ments to which we Co, • nfler Corrc-io In the Paima Caller • shall refer later on. The reproduction of this signature caused certain writers to uphoklthe copy as
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