File:Antonio Allegri da Correggio, his life, his friends, and his time (1896) (14581748559).jpg

Identifier: antonioallegrida00ricc (find matches)
Title: Antonio Allegri da Correggio, his life, his friends, and his time
Year: 1896 (1890s)
Authors: Ricci, Corrado, 1858-1934
Subjects: Correggio, 1489?-1534
Publisher: New York : C. Scribner's Sons
Contributing Library: Harold B. Lee Library
Digitizing Sponsor: Brigham Young University

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ing ; he attained to the fullest expression of life,movement, and joyful emotion. But the tumult of figures, the ex-cessive contortions of the bodies, the agitated play of the over-voluminous draperies, produce an impression of unrest, almost ofdiscomfort. The spectator feels that one pair of eyes hardly suffice himfor the admiration and comprehension of the whole, and he returnswith a sensation of calm enjoyment to the contemplation of the cupolaof San Giovanni Evangelista. KRKSCO IN THE APSE 213 In the account of money paid to Correggio for his works in thechurch, we find, immediately after the entries of expenses connectedwith the decoration of the cupola, a payment made to the artist forpainting the great chapel, i.e. the tribune. A copy has, however,taken the place of the original fresco, of which only a few small frag-ments have been preserved. In 1586 the Benedictines commissioned Cesare Aretusi, a Bolognesepainter, born about the middle of the sixteenth century, to make a copy
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AISE OF SAN GIOVANNI EVANGELISTA, lARMA, BY CESAKE ARETUSI, AFTER CORREGGIO. of the fresco. In the following year the entire apse was demolished toenlarge the church, and Cesare, assisted by Ercole Pio and GiovanniAntonio Paganino, repainted the new tribune from the copy.Malvasia1 and Ruta2 declare that Aretusi, in his turn, had com-missioned Agostino and Annibale Carracci to make the first copy from 1 Felsina pittrice, i. p. 250 ; ii. p. 80. Bologna, 1884. 2 Guida ed esatta notizia ai fores tieri delle pitture che sono nelk chiese di Parma, p. 57.Parma, 1752. 214 ANTONIO DA CORREGGIO the original, of which Annibale had painted several studies sixyears before.1 This was probably true. Certain large canvases bythe Carracci, after the frescoes in the apse of San Giovanni, were inthe Palazzo del Giardino at Parma until r734-2 They are now in theNaples Museum, and it seems probable that they served the purposeindicated by Malvasia and Ruta, for they are not studies of isolatedfigures or g

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