. A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910) . the left and the Childseager movement to the right indicate that this panel must have formed origin-ally the middle of a polyptych with Saints on either side.—B. Berenson onVenetian Painting at the heiv Gallery, 1895, p. 12. Ce panneau, qui paralt avoir fait partie dun ce triptique, tire son charmeprincipal de sa simplicite. Cest une des premieres oeuvres de Crivclli,ant^rieure a Tcpoque oil il adopta le style, mani6r6 et la surabonda
. A catalogue of the pictures and drawings in the National loan exhibition, in aid of National gallery funds, held in the Grafton Galleries, London (1909-1910) . the left and the Childseager movement to the right indicate that this panel must have formed origin-ally the middle of a polyptych with Saints on either side.—B. Berenson onVenetian Painting at the heiv Gallery, 1895, p. 12. Ce panneau, qui paralt avoir fait partie dun ce triptique, tire son charmeprincipal de sa simplicite. Cest une des premieres oeuvres de Crivclli,ant^rieure a Tcpoque oil il adopta le style, mani6r6 et la surabondancc desd6tails qui gdtent les oeuvres quil executa ensuite a Ascoli et dans les Marches.—Lionel Cust on the La Collection de M. R. H. Benson, in Les Arti,October 1907, p. 3. Wood. 39 in. X 17 in. ( X ). Formerly in the Collection of G. H. Morland, May 9, 1863, No. 76;later in the William Graham Collection, April 9, 1886, No. 331. Signed on the front of the step : CAROLVS CRIVELLVS VENETVS1472 PINSIT Exhibited at Burlington House, Old Masters, 1875, No. 182; 1887,No. 180; also at the New Gallery, 1894-95, No. by R. H. Benson, Esq. 109. 72CORREGGIO: 1494-1534 Schuol of Parma CHRIST TAKING LEAVE OF HIS xMOTHER BEFORE THE PASSION FOUR full-length figures, about one-tourth the size of life. Onthe left of the composition Christ kneels with head bent andfolded arms. He is dressed in a white robe and a crimson Him to the right is the Virgin fainting in the arms of theMagdalene ; St. John stands in the centre, at the back, with claspedhands, and wearing a straw-coloured garment with a red cloakgathered around him. On the right are buildings and a column ;on the left is a distant blue landscape, with the Sea of Galilee,studded with islands, from which flows the river. The sorrowful scene is treated with simplicity though with profoundfeeling. The sublime resignation of the Saviour, the anguish of the mother,who is bowed down with grief, and the warm, tr
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