^ /e: CORREGGIO CLASSICS IN ART SERIES RAFFAEL, The Work of. Reproduced in Over Two Hundred Illustrations. With a Biographical Introduction abridged from Adolf Rosenberg. Square 8vo. Cloth extra. Gilt top. $2.50 net. II. III. IV. V. VI. VII. VIII. REMBRANDT, The Work of. Reproduced in Over Five Hundred Illustrations. With a Biographical Introduc- tion abridged from Adolf Rosenberg. Square 8vo. Cloth extra. Gilt top. $3.50 net. TITIAN, The Work of. Reproduced in Over Two Hundred Illustrations. With a Biographical Introduction abridged from Dr. Osker Fischel. Square 8vo. Cloth extra. Gilt top. $3.00 net. DURER, The Work of; both Copper-plates and Wood- cuts. Reproduced in Over Four Hundred Illustrations. With a Biographical Introduction abridged from Dr. Valentin Scherer. Square 8vo. Cloth extra. Gilt top. ^3.50 ;/t'/. RUBENS, The Work of. Reproduced in Over Five Hundred Illustrations. With a Biographical Introduction abridged from Adolf Rosenberg. Square 8vo. Cloth extra. Gilt top. $4.00 net. VELASQUEZ, The Work of. Reproduced in nearly One Hundred and Fifty Illustrations. With a Biographical Introduction abridged from Walther Gensel. Square 8vo. Cloth extra. Gilt top. ^2.50 net. MICHELANGELO, The Work of. Reproduced in One Hundred and Sixty-nine Illustrations. With a Bio- graphical Introduction by Fritz Knapp. Square 8vo. Cloth extra. Gilt top. ^2.50 net. CORREGGIO, The Work of. Hundred and Ninety-six Illustrations. Introduction by Georg Gronau. extra. Gilt top. $3-oo net. Reproduced in One With a Biographical Square 8vo. Cloth BRENTANO'S, Fifth Avenue and 27th Street, New York THE WORK OF GORREGGIO REPRODUCED IN One Hundred and Ninety-six Illustrations WITH A BIOGRAPHICAL INTRODUCTION ABRIDGED FROM GEORG GRONAU NEW YORK BRENTANO'S MCMVIII Copyright, igo8, by Brentand's ,iiiii!ilillt!iRi" Bildnis Correggios Nach einer Zeichnung von Carlo Maratta in der Albertina in Wien CORREGGIO HIS LIFE AND HIS ART Antonio Allegri, the son of Pelleghno AUegri and Ber- nandina Piazzoli, was born in 1494 in the little Emilian town of Correggio. The family came originally from the peasant stock of the country, but had attained a decent competency by means of business. Through an uncle of the boy's, the young Correggio ob- tained some idea of the artistic craft, by watching this uncle artist grind and mix his colors. This will explain how it came to pass that Correggio, as a youth, obtained a knowledge of the elements Of art and its technical terms. In so insignificant a place as Correggio there could not possibly have been any opportunities for acquiring a more intimate acquaintance with the art of painting. What the lad knew he learned from Lorenzo the uncle. We know this now, though at one time legend had it that the gift of the wondermaking genius of this artist was God-given; but, indeed, there was no mira- cle here. Correggio is near Bologna, Mantua, Milan, and Venice, and a soul hungry for art could find food in these places if it felt the craving strongly enough. In Mantua, Andrea Mantegna had spent the greater part of his life, and here his first work might be seen. Young Antonio was but twelve years old when Mantegna died in 1506, so that there is no relation here of master and pupil; but that was hardly necessary for a young Correggio. In Mantua, also, there resided for many years the Ferrarese, Lorenzo Costa. He it was, perhaps, who opened the eyes of the young man to the new light. In the Church of San Francesco in Correggio, for which the young Allegri painted his first altar pic- ture, was found a picture by Costa, In Mantua, also, were many opportunities for a young artist to become acquainted with some of the best art work of the period, In the palaces of its nobles, more particularly in that of Francesco Gonzaga, were to be found the productions of the greatest living masters. Besides the work of 5 Mantegna and Costa, there were represented such men as Perugini and Bellini. Nor was it difficult for a young man to obtain admis- sion to these places. Veronica Gambara, the great lady of Cor- reggio, was also a friend of Isabella d'Este, the wife of Gonzaga of Mantua. That she took more than a passing interest in the young artist is evident from a letter in which Veronica informs her friend of a finished picture by " our Antonio." The early works of a famous artist are always interesting; they help us to follow the development of his genius and to trace the influences by which he grew to greatness. Correggio's first attempts treat of the Madonna and Child, and all shine wdth the bright- ness of mixed colors. He imitates Costa in color values and the shapes of the figures. There is a melting softness in the mother and a moving grace in the child, which show that the young painter had not learned from experience the rough and powerful features of old age. This he found in Andrea Mantegna, from whom he took his St. Elizabeth and the Madonna in Pavia. At the age of twenty Correggio com.pleted his first great altar picture destined for the Church of San Francesco in his native town. The subject, of course, was the regular Madonna and Saints, and the artist was, in a measure, compelled to paint after the traditional manner. In spite, however, of the limitations to which he was bound, the painting shows remarkable departures from the accepted standard for such pictures. The stiffness of the symmetrical com- positions is finely softened, while a fine light atmosphere pervades the whole. Correggio took six months over the work and signed his name to it — an evidence of his pride in the composition, since only once again did he distinguish any work from his hand in this manner, when he signed the Madonna of Albinea. Another picture very similar to this in composition is the altar piece for the church of St. Maria della Misericordia in Correggio, which pictures the four saints. The Madonna of Albinea, painted between 15 17 and 15 19, closes the first period of Correggio's art career. The original cannot be traced, and we have it now in several reproductions. Here Correggio shows the Madonna in the open country, resting on the turf beneath a tall tree. Only the solemn expression on the faces of the two women suggest that the picture might be that of a sacred subject. Correggio's career differs from those of the other painters of the Renaissance in that it blossomed in one place. He did not travel from town to town, but found full opportunity for the cultivation 6 of his genius in the little city of Parma. How he came to go to Parma is not known, nor is even the date of his first taking up his abode there. He was there in the middle of the year 1520 and we surmise that he must have been there in 15 18, completing the deco- ration of a room in the Convent of San Paolo. Whether or no he ever was in Rome is still a matter in dispute. Vasari and Ortensio Landi affirm that he never saw the Imperial City. Our only guide remains in the evidence we can gather from his pictures, and with this any conclusion may be reached. It would seem impossible, however, for so remarkable a flowering of art to have taken place without the sustaining food of the labors of Michelangelo and Rafifael; and it may well be that Correggio visited Rome to find inspiration in the works of these masters and then returned to his native place as quietly as he left it. In his decoration for the Abbess's room in the Convent of San Paolo we meet, for the first time, Correggio as the ripe artist. There is no longer evidence of hesitation or halting; what is done is done naturally and with a sense of conviction in the rightness of the effect. The invention of the artist in changing movements seems inexhaust- ible. The naked, beautiful children are grouped in a variety of positions and performing many acts. In sixteen arches he repeats the same motive and each repetition is a variation. Whether the allegory of the representations be evident or not hardly matters in view of the beauty of the figures and their exquisite settings. Guides may point out the spiritual meanings of the compositions, but the average man will rest happily content with the gay humor of the inventive artist. Of this earlier period of his sojourn in Parma we have four small devotional pictures: "Engagement of St. Catherine," "Ma- donna della Costa," " Madonna Bianconi," and the " Madonna " in Buda-Pesth. Although painted at different times, all these are yet full of the spirit of the youth of the master. They portray the pure joy of motherhood. As Michelangelo was denied the gift of humor, so was Cor- reggio denied the power of expressing the tragic. He often attempts the dramatic, but these attempts are always lacking in passionate interest. He could not seize and transfix the pain of loss as Dona- tello or Crivello did; nor was he able to portray quiet sorrow such as Giovanni Bellini showed in some of his Pieta pictures. This is most manifest in the large painting, " The Descent from the Cross " (in Parma) and the " Ecce Homo " (in London), where the stiffness 7 of the figure evinces little artistic power in expressing suffering and the patience of the soul in pain. In " The Martyrdom of the Holy Placidus and Flavia," however, Correggio has accomplished some- thing that deserves our admiration for its clear and brilliant paint- ing. Never before did an Italian produce a more wonderful effect as is brought out by the light shapes lifted from the dawn. But when we consider the tragic possibilities of the subject and compare it with Titian's " Martyrdom of St. Peter," which was executed only a few years later, we realize Correggio's limitations. In the same year in which Correggio attempted to express the tragic, he painted the two cupolas in Parma. He received his first payment from the Prior of San Giovanni Evangelista on January 6, 1520, and on January 23, 1524, he signed his receipt for payment in full. Between these two dates Correggio achieved his greatest work, which apparently lay in the sphere of room decoration. His paintings on the cupolas are masterly. His " John " here is only to be rivalled by Andrea del Sarto's " Madonna del Sacco " in Flor- ence. It strikes a beholder with quiet, impressive dignity. The half- cupola in the tribune of the Church, which in 1587 was sacrificed to the spirit of improvement and extension, pictured Christ as the world-ruler, a kingly image in the act of placing a crown of stars on the head of the Madonna. Around her were angels and the two protecting saints of the Order of the Benedictines — Placidus and Maurus. At a slight distance were shown the people waiting for the holy moment, with John the Baptist and the Evangelist accom- panied, on left and right, by a crowd of angels, children and youth, talking, or playing music. The whole of this heavenly vision was seen by the eye on banks of clouds with an arbor above through which the light sky shone. Of this wonderful realization of beauty only a few of the angels' heads and the figures of the Savior and the Mother, were saved from destruction. In the cupola itself the painter seizes the definitive moment in the life of the Virgin fol- lowing the glorification of the Lord. High above the beholder sees Christ in light clearness surrounded by the heads of angels that are scarcely visible, but which become clear in a vapor of light. The Savior hovers upward with a victorious, elevated, directing gaze, while the drapery round his chest and hips floats, driven by the strength of the motion. Eleven apostles, resting on thick, white pillars of clouds, and arranged in groups of twos and threes, assist the heavenward action of the Christ figure. All their faces seem to reflect the beatitude of the consummation. This and more were to be seen by the onlooker in those days; but to-day time and the elements have done such damage that it is difficult to follow the story or even to appreciate its beauty of representation. It is diffi- cult, so splendidly did Correggio do this cupola, to see in its painter the same man who created the lovely and tender Madonnas and who decorated the nun's convent. The turning-point in Correggio's life lies between the years 1524 and 1526, when he had finished the dome of San Giovanni Evangelista and had begun on the dome in Parma. The work he accomplished at this time shows him the perfect master of his art. Difficulties no longer exist for him; indeed, he seeks them to show how easily he can overcome them. The Parma cupola remains his greatest achievement. He worked on it until his death, when it was still waiting for his finishing touches. Indeed, we know that two of the figures were afterwards painted by Girolamo Mazzolo, and that Correggio's heirs were obliged to return some of the money paid for the work because Correggio had not completed it. We must now return to Correggio's earlier career and consider some of the paintings executed before his four great altar pieces, which were made in the same period. First is " The Adoration of the Child," a picture so soft and tender in its execution and color- ing that the eye is almost wearied. Here everything appears as a gentle mingling of colors. The light is poured over the two figures with a soft glow that places the figures in a delicate half-shade, picking out the essential and massing the non-essential so that a magic of light and atmosphere fills the eye beyond the landscape of ruins. It is a landscape that should satisfy anyone who does not care for the " Noli Me Tangere." Of course, those who find them- selves wearied of Correggio's softness of treatment, especially as shown in the " Gethsemane," can easily find in all these much to object to; but Correggio built as he knew, and what he knew was not known in just that way by any of the master painters of his time. A change from this over-tenderness is seen in " The Engage- ment of St. Catherine" (Louvre), where the saint is a woman and not the gentle virgin of his earlier pictures. In his altar pictures Correggio again departed from the conventional. At first sight they seem to lack proportion, and the vertical line in the " Madonna of St. Sebastian " is unduly accentuated. In the " Madonna of St. Hieronymus " and " The Rest During the Flight " the figures seem diagonally placed, while in the " Madonna of St. George " they seem to be grouped in a polygon. Whenever he showed the Madonna 9 in the clouds Correggio always divided the composition into two distinct groups, placing the worshipping saints below and sharply separating them by a landscape view on the distant horizon. It has been suggested that he did this to get away from the conven- tional parallelism then general in such compositions. In the " Ma- donna of St. Hieronymus," a raising of the floor serves as a seat for the main figure which overlooks all the others except that of St. Jerome, whose powerful form is strongly accented. To avoid the parallelism here Correggio invented his most beautiful move- ment — that of the tender bending of the pretty blond woman. As Magdalen inclines to kiss the feet of the boy whom she scarcely dares touch, she brings the curved line, scarcely noticeable to the eye, downward. A dark red cloth is spread with bold freedom over the trees, as a protection from the sun, for the holy group, the light of which brilliantly fills the distant landscape. The contour of this cloth takes up the diagonal and carries it to the upper part of the picture-frame. In the " Madonna della Scodella " the curved line is still more noticeable. It divides the surface exactly into two equal parts and is carried in a perfectly natural treatment from figure to figure. In the " Madonna of St. George," possibly one of Correggio's later altar paintings, he once more treats the Madonna as throned. It is full of movement and radiant in sensitive beauty; but it is want- ing in dignity. It goes to show that a genius like Correggio's could hardly content itself with painting altar pictures. His was the spirit that could have revivified the fables of ancient history and made them young again for an older world. This he did in the '' Jupiter," the " Antiope," the " Education of Amor," the " Leda," and the " Diana." How these came to be painted is a question; but it is certain their origin had something to do with the dukes of Mantua. Two of the allegorical compositions in the Louvre once adorned the rooms of Isabella d'Este, and the " Leda " and " Diana" were painted for Duke Federigo II and given as a pres- ent to the Emperor Charles V. We now come to understand Correggio's relations with the family of the Gonzagas. He had, perhaps, known them in his early youth. In 1528, again, we learn of the account sent by the Princess Veronica Gambera to Isabella d'Este of the kneeling, repentant Madonna " our Antonio Allegri " had just finished. Then, finally, when Correggio was dead, we learn of the Mantuan duke coming to Parma to receive back a certain sum of money from the artist's 10 heirs, on account of the incompleted cartoons representing the love affairs of Jupiter. Other interpretations of the antique are the tender " Danae," the " lo," and the " Ganymede." In the love episode of Jupiter and in the daughter of Inachos Correggio gave everything a painter of his time had ever been able to give, and he gave it with such tenderness of feeling that no one could be offended. '' Leda with her Playmates " is the last and most perfect of these mythological paintings. Dense trees border the foreground, and the flat river- bed, with its dull, silvery surface, is enlivened by the figures of several beautiful women with their silver-light laughter. From the far background comes temptingly, as a magic central figure, the relation of the woman with the swan ; but so sweetly serious and so smilingly pleasant that the intention is felt rather than realized — a perfect harmony of color and lines. By comparison with these lovely paintings Correggio's later works, " Virtue " and " Vice," appear a retrogression in the master's craft. Here the artist was obliged to fit his wayward genius into a form quite inflexible and unsuited for pictorial presentation. Well might Isabella d'Este reproach him for his decoration of her studio in the Corte Vecchia in Mantua. Only the landscape in '' Vice " shows the genius of the master by its effulgent light. These are the last works of Correggio of which we have any certain knowledge. While occupied with the design for the mytho- logical pictures ordered by Frederic Gonzaga, the painter died on March 5, 1534, having scarcely attained his fortieth year. Seven years later, when on his voyage to Venice, Vasari first learned of Correggio's works, and although they must have appeared strange to him, he yet grasped with remarkable insight their meaning and value. Some years after, in 1550, he published his biography, and gave an account of his impressions. Vasari judged him a master; we who have had the advantage of centuries of familiarity and study of this genius must acknowledge its gracious power for realizing beauty. II CORREGGIO ABBREVIATIONS AND EXPLANATIONS H. = Height B. = Width AuF HoLZ = on wood AuF LEiNWAND = on canvas AuF ScHiEFER = on slate The figures giving the sizes of the paintings stand for metres f Florenz, Ulfizlen Auf Holz, H. 0,20, B. 0,10 Madonna mit Engeln Virgin Mary with angels 1512-1514 La Vierge et des anges Nach einer Aufnahme von Fratelli Alinari, Florenz Correggio 1 iitiiiiiiiHiiiiir L_>mS :*P '^^■*** i^m ■ •. f k. . - 1 1 V \ 1 ^ ii'*« 1 'Ik / '^^ .«■ C* j| ^ 1 ;>i I ;^ " Li. i| r'"i ^hE ^^ ^ ■ " 1 i' P ^ 1 pr^ -^-m -^ l» 1 ^1 H fL^ ^MBLOII fes. ' ■ -r^' ^^^HH WM^^ B. i-^_-^ ■ . tji^; ■■■ , ..'^^^^ ^g ^ ■ 14. * Mailand, Dr. Gustavo Frizzoni Auf Holz, H. 0,28, B. 0,21 Die Vermahlung der heiligen Katharina und die Heiligen Anna, Franziskus und Dominikus The marriage of St. Catherine, and the 1512— 1514 ^^ manage de Sainte Catherine, Sainte saints Anne, Francis and Dominic Anne et les saints Fran90is et Dominique * Strassburg, Stadt. Gemalde-SammluiiiJ Auf Holz, H. 0,27, B. 0,20 Judith 1512—1514 ttlillllHllllllB" *Wien, Antlrcas letter von Rdsinger Auf Holz, H. 1^6, B. 1,23 Die Vermahlung der heiligen Katharina und die Heiligen Johannes, Anna und Joseph The marriage of St. Catherine, 1512-1514 ^^ mariage de Sainte Catherine the saints John, Anne and Joseph et les saints Jean, Anne et Joseph Wien, Andreas Ritter von Reisinger Die Vermahlmig der heiligen Katharina und die Heiligen Johannes, Anna und Joseph The head of St. Catherine (Ausschnitt) Tete de Sainte Catherine (Detail of the foregoing painting) 1512—1514 (Detail du tableau precedent) !iitiiiituiitiia" iim Pavla, Galerie Malaspina Auf Holz, H. 0,25, B. 0,21 Die heilige Familie mit der heiligen Elisabeth und dem kleinen Johannes The Holy Family, with St. Elizabeth 1512—1514 ^^ sainte familie, Sainte Elisabeth and the little St. John et le petit Jean Nach einer Aufnahme von D. Anderson, Rom ' c^ ii "^P^ ' 1 wP ■ ''■;/ - •■ -A . mm «#^^ 'l^ t*^ 4> ■».t ' '*^^^^Kr ^ *SIgmaringen, Fiirstl. HohenzoUernsches Museum Auf Holz, H. 0,61, B. 0,48 Madonna mit dem Kinde, Elisabeth und Johannes Virgin Mary with Child, St, Elizabeth I5i2-l5l4 ^^ Vierge et I'Enfant, Sainte Elisabeth and the little St. John et le petit Jean tititiiiniiiiHfl" :0 •a c Q Correggio 2 ttiiiiiimlilMHf!"' •London, Charles Fairfax Murray Die heilige Familie und der kleine Johannes The Holy Family and little St. John 1513—1514 La sainte familie et le petit Jean Nach einer Aufnahme von Braun, CISmcnt & Cie., Dornach (Elsass) 10 *Munchen, Alte Pinakothek Young Faunus Junger Faun 1513—1514 Aut Holz, H. 0,19, B. 0,16 Jeune Faune Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-Q., jMunchen 11 ■iiiiiiililitlffltiHff * London, R. H. Benson Auf Lelnwand, H. 0,84, B. 0,74 Christi Abschied von seiner Mutter Christ taking leave of liis motlier Gegen 1514 Le Christ quittant sa mere Nach einer Aufnahme von Braun, CliJment & Cic, Dornach (Elsass) 12 ♦Dresden, Kgl. Gemaidegalerie Auf Holz, H. 2,99, B. 2,455 Madonna mit dem heiligen Franziskus Virgin Mary with St. Francis 1514—1515 La Vierge et Saint Frangois Nacli einer Aufnahme der V'erlagsanstalt F. Bruckmann A.-G-, Miinchen 13 Dresden, Kgl. Gemaidegalerie Madonna mlt dem heiligen Franziskus The head of St. Francis (Ausschnitt) Tete de Saint Francois (Detail of the painting p. 13) 1514—1515 (Detail du tableau p. 13) Nach einer Aufnalime von Fratelli Alinari, Florenz 14 Dresden, Kgl. Gemaldegalerie Madonna mit dem heiligen Franziskus Virgin Mary with Child (Ausschnitt) La Vierge et I'Enfant (Detail of the painting p. 13) 1514-1515 (Detail du tableau p. 13) Nach einer Aufnahme von Fratelli Alinari, Florenz 15 iiiHiiiiiHiiiliiiiHfF 'London, Lord Ashburton Auf Leinwand, H. 1,72, B. 1,26 Vier Heilige: Petrus, Leonardo, Magdalena und Martha Group of saints: Peter, Leonard, 1514—1515 Groupe de saints: Pierre, Leonard, Magdalen and Martha Madeleine et Matthe 16 *Mailand, Museo ArtisticoMunicipale Auf Leinwand, H. 0,75, B. 0,65 Madonna mit dem Kinde und Johannes Virgin Mary with Child and little St. John 1514-1515 La Vierge, I'Enfant et le petit Jean Correggio 3 17 :tiiiiiimiii{ifflf *Neapel, Museo Nazionale St. Anthony Abbot Sankt Antonius Abbas 1514-1515 Auf Holz, H. 0,49, B. 0,37 Saint Antoine 18 ^Modena, Galerie Auf Holz, H. 0,58, B. 0,45 Madonna mit dem Kinde, sogen. Madonna Campori Virgin Mary with Child 1514—1515 La Vierge et I'Enfant Nach elner Aufnahme von D. Anderson, Rom 19 itiiiiiiniillHMiff' ^Florenz, Uffizien Auf Lelnvv:iiul, II. 1,22, B. 1,03 Ruhe auf der Flucht nach Aegypten The rest on the flight to Egypt Um 1515 Repos pendant la fuite en Egypte Nach einer Aufnahme von Fratelli Alinari, Florenz 20 * Madrid, Prado-Museum Auf Holz, H. 0,48, B. 0,37 Madonna mit dem Kinde und Johannes Virgin Mary withi Child and little St. John Urn 1515 La Vierge, I'Enfant et le petit Jean Nach eiiier Aufiiahme von D. Anderson, Rom 21 ;;(llillHliiWMiff *Neapel, Museo Nazionale Auf Holz, H. 0,47, B. 0,37 Die Ruhe auf der Flucht gen. La Zingarella The rest on the flight to Egypt um 1515 Repos pendant ia fuite en Egypte (La Zingarella) (La Zingarella) Nach einer Aufnahme von D. Anderson, Rom 22 Hamptoncourt, Galerie Auf Holz, H. 0,67, B. 0,52 Madonna mit dem Kinde und den Heiligen Jakobus und Joseph Um 1515 ^^ Vierge, I'Enfant, Saint Jacques Virgin Mary with Child, St. James and St. Joseph et Saint Joseph 23 it;tiiiiiiniiiitllimir' f Frankfurt a, M , Stacdelschcs Kunstinstitut Aiif Leiinvand, H. 0,91, B. 0,73 Madonna mit dem Kinde und Johannes Virgin Mary with Child and (Madonna di Casalmaggiore) La Vierge, I'Enfant et le little St. John Urn 1515 petit Jean Nacli einer Aufnahme der V'erlagsanstalt F. Bruckmann A.-G., Miinclien 24 'Mailand, Brera Auf Leinwand, H. 1,51, B. 1,60 Madonna mit der lieiligen Magdalena (knieend) und der heiligen Lucia (stehend) Sog. Madonna d'Albinea Alte Kopie des verschollenen Originals Virgin Mary with St. Magdalen and La Vierge, Sainte Madeleine et Sainte St. Lucy (Madonna d'Albinea) ^^'^^^^^ ^^'^ ""d 1519 ^ucie (Madonna d'Albinea) Old copy of the lost original-painting Ancienne copie du tableau original perdu Correggio 4 25 iiitiiimiiimiltfi^ Auf Holz, H. 0,295, B. 0,21 La Vierge et I'Enfant Nach einer Aufnahme von D. Anderson, Rom ^Mailand, Galerie Crespi Mater amabilis Virgin Mary with Child Um 1518 26 ♦Parma, Camera di S. Paolo Prj Die Deckengemalde als Ganzes A general view of the ceiling 1518 Vue generale du plafond Nach einer Aufnahme von Fratelli Alinari, Florenz 27 iiiiimniiliimtf 28 29 iiiiiiiiiiiitliHitff 6 E tu ^ X2 ^ :3 •o r n . t3 E ^ j= Ol •a Ol ■rr; J3 E 01 tuC c n ^^ "WW^ ^?^ "^ra^ 1^ '^ jJMiri^ky^ ■ '^^. — -T«.,^^-- ^l^^H^^^I iMBBl^''~:r-^:r^r''^^ 'M'-- ^ ^■•iBi^^ M.- Die drei Parzen The three Parcae Les trois Parques Parma, Camera di S. Paolo Ino Leucothea (?) (Details of the ceiling) Ino Leukothea (?) 1518 Nach Aufnahmen von D. Anderson, Rom Details aus dem Decken-Fresko Inon Leucothee(?) (Details du plafond) 46 Ceres Ceres Ceres Parma, Camera di S. Paolo Satyr 1518 Details aus dem Decken-Fresko A satyr 1518 Un satyre (Details of the ceiling) (Details du plafond) Nacli Aufnahmen von D. Anderson, Rom 47 Chastity Die Keuschheit La Chastete Parma, Camera di S. Paolo Virginity (Details of the ceiling Die Jungfraulichkeit 1518 Details aus dem Decken-Fresko La Virginite (Details du plafond) Nach Aiifnahmeii von D. Anderson, Rom 48 Goddess of Fortune Die Gottin des Glucks La deesse de la fortune Parma, Camera di S. Paolo Minerva (Details of ttie ceiling) Minerva 1518 Nach Aufnahmen von D. Anderson, Rom Details aus dem Decken-Fresko Minerve (Details du plafond) Correggio 7 49 liiiiintiiiilff Auf Holz, H. 0,28, B. 0,24 'Neapel, Museo Nazionale Die Vermahlung der heiligen Katharina The marriage of St. Catherine 1518-1519 Le mariage de Sainte Catherine Nach einer Aufnahme von D. Anderson, Rom 50 Rom, Paolo Fabrizi Die Vermahlung der heiligen Katharina The marriage of St. Catherine 1518-1519 Le marlage de Sainte Catherine Nach einer Aufnahme von D. Anderson, Rom 51 3 iC 52 2i Ji ^ «i, U-, h/) c c 3 ca :0 E 1^ tw a> iuiiiiiiiil 11 Q > 54 Q :0 3 S > 55 Parma, Galerie Auf Leinwand, H. 1,67, B. 1,24 Aus dem Fresko in der Halbkuppel von S. Giovanni Evangelista. Kopie von Annibale Carracci Group of angels from the destroyed fresco Groupe d'anges de la fresque detruite dans in the half-cupola of S.Giovanni Evangelista. la demi-coupole de S. Giovanni Evangelista. From the copy by Annibale Carracci D'apres la copie d'Annibale Carracci 56 Parma, Galerie Auf Leinwand, H. 1,72, B. 1,22 Aus dem Fresko in der Halbkuppel von S. Giovanni Evangelista. Kopie von Annibale Carracci Group of angels from the destroyed fresco Groupe d'anges de la fresque detruite dans in the half-cupola of S.Giovanni Evangelista. la demi-coupole de S. Giovanni Evangelista. From the copy by Annibale Carracci D'apres la copie d'Annibale Carracci ■Correggio 8 57 London, Ludwig Mond Angels' heads From the fresco in the half- cupola in S. Giovanni Evangelista at Parma Engelskopfe Stiicke aus dem Fresko in der Halbkuppel von S. Giovanni in Parma 1520-1524 Tetes d'anges Parties de la fresque dans la demi-coupole de S. Giovanni Evangelista a Parme 58 ■Parma, S. Giovanni Evangelista The ascension of Christ (Total view of the cupola) Die Himmelfahrt Christ! (Das Kuppelgemalde als Oanzes) 1520—1524 L'ascension de Jesus-Christ (Vue generate de la coupole) Nach elner Aufnahme von D. Anderson, Rom 59 Parma, S. Giovanni Evangellsta Detail aus dem Kuppelgemalde Christus Nach dem Aquarell von P. Toschi In der Galerie zu Parma Christ Jesus-Christ From the copy by P. Toschi D'apres la copie de P. Toschi Nacli einer Aufnaiime von Fratelli Alinari, Florenz 60 Parma, S. Giovanni Evangelista Details aus dem KuppelgemSlde Die Apostel Thomas und Jacobus minor Oben nach dem Original, unten nach dem Aquarell von P. Toschi in der Galerie zu Parma The apostles Thomas and James the younger 1520-1524 Les apotres Thomas et Jacques, dit le Mineur Above from the original painting. En haut d'apres la peinture originale, below from the copy by P. Toschi en bas d'apres la copie de P. Toschi Nach Aufnahmen von D. Anderson, Rom 61 Parma, S. Giovanni Evangelista Fre Detail aus dem Kuppelgemalde: Jacobus minor St. James the younger 1520—1524 Saint Jacques, dit le Mineur (Detail of the cupola) (Detail de la coupole) Nacli einer Aufnahme von D. Anderson, Rom 62 Parma, S. Giovanni Evangelista Fr Detail aus dem Kuppelgemalde: Jacobus minor Saint Jacques, dit le Mineur 1520-1524 St. James the younger (Detail of the cupola) (Detail de la coupole) Nach einer Aufnahme fiir das Itallenische Ministerium des offentlichen Unterrichts 63 Parma, S. Giovanni Evangelista ^^^ Die Apostel Thomas und Andreas The apostles Thomas and Andrew 1520-1524 Les apotres Thomas et Andre (Detail of the cupola) (Detail de la coupole) Nach einer Aufnahme fiir das Itallenische MInlsterium des offentlichen Unterrichts 64 Parma, S. Giovanni Evangelista Details aus dem Kuppelgemaide Die Apostel Andreas und Jacobus maior Oben nach dem Original, unten nach detn Aquarell von P. Toschi in der Galerie zu Parma The apostles Thomas and James the elder 1520—1524 Les apotres Thomas et Jacques, dit le Majeur Above from the original painting. En haut d'apres la peinture originale, below from the copy by P. Toschi en bas d'apres la copie de P. Toschi Nadi Aufnalimen von D. Anderson Rom Correggio 9 65 Parma, S. Giovanni Evangelista Detail aus dem Kuppelgemalde : Andreas St. Andrew 1520—1524 Saint Andre (Detail of the cupola) (Detail de la coupole) Nacli einer Aufnahme tur das Italienische Ministerium des offentlichen Unterriclits 66 ' " *"n7^ f^: >ii;.:' 'W' /|ii ^R. *-ik •^f'^dBitk. IF- a|fe', V^BB m^ — ,.™.^.^^„^_._^ . M^ *^'^49H fllE^. ^^^^^^^I9k ^v ^HH^^^^^ftiA.^-., i k.''"^ ' ^^/•%|^5,. ■ "'^^ ^ m "'*-^fc *"^^'^fcltt. "^^^ ^^ ^m ^^B'' ' ''*%.tm M^^^m. ip^ib' ■P* . ^^^ ^^k^. ^^^^^H ^mmRf^ss HI^^H^^Hk ' m. Parma, S. Giovanni Evangelista Fresko Details aus dem Kuppelgemalde Details of the cupola 1520—1524 Details de la coupole Nacti Aufnatimen von D. Anderson, Rom 67 Parma, S. Giovanni Evangelista Detail aus dem Kuppelgemalde: Matthaus St. Matthew (Detail of the cupola) 1520-1524 Saint Matliieu (Detail de la coupole) Nacli eincr Aufnalime fiir das Italicnische Ministerium des offentlichen Unterrichts 68 ■K^^ "^ BB^^^ ^JP^^^ 1 ^E n 1 1^ ^H^^^^^^^^Hl^ J ■p P ^ k ^ 1 ■if: .^i^lHt wik -/^'j^ F' ■ '^^^B F i W-*^m: x^r ' ^^ i^'^ .Hi p- r^H d^ m^ ^fc §r -^i|^^ ^'""^^^ ^^ , ^^^ ^* ' C5 Wmm '■^^' '" I. '^^«^."'- mp '^^^^la^^^^lft ''^i^gg^^^^^^i^ '^^^ ■W^ « k "'-■^ ^4< r k ■ Jacobus maior und Matthaus St. James the elder and St. Matthew Saint Jacques, dit le Majeur et Saint Mathieu Parma, S. Giovanni Evangeiista Freslio Detail aus dem Kuppelgemalde Details of the cupola 1520—1524 Details de la coupole Nacli Aufnalimen von D. Anderson, Rom 69 ii'Htiiiil-1^ Parma, S. Giovanni Evangelista Detail aus dem Kuppelgemalde Johannes der Evangelist auf Patmos und die Apostel Matthaus, Marcus und Lucas Nach dem Aquarell von P. Toschi in der Qalerie zu Parma St. John the Evangelist at Patmos, i-9n_i=;94 ^^'"^ "^^^^ I'Evangeliste a Patmos St. Matthew, St. Mark, and St. Luke ^ et les apotres Mathieu, Marc et Luc From the copy by P. Toschi D'apres la copie de P. Toschi Nach einer Aufnahme von D. Anderson, Rom 70 ■»^s^^^ 1 |, 1 fe -4'* ■ ■ ^ p ;;^ ^^ ..^ 5 .'-^ ff ^^^T l' yli ^« ^ 1 .^'^^-"4 p^' , } * i ""^ PK ::ii ^P^ '" vP # ;,.^!^^ ^i^-. 11 HHKl^''^ -Ml f . .: . ,^p^ IPP ^"si 1 ■■- - Die Apostel Matthaus, Marcus und Lucas The apostles Matthew, Mark and Luke Les apotres Mathieu, Marc et Luc Parma, S. Giovanni Evatigellsta Details aus dcm Kuppelgemalde Johannes der Evangelist St. John the Evangelist 1520—1524 Saint Jean I'Evangeliste Nacli Aufnahmen fiir das Italienische Ministerium des offentlichen Unterrichts 71 The apostles Mark and Luke Die Apostel Marcus und Lucas Nach elner Aufnalime von D. Anderson, Rom Les apotres Marc et Luc "..,;::;^^. ^1 HH ■Er' •-'-' •?• ^H P^B ^HHll^iK'. ■^. ^^^^^B ^^1 H^^^H ^^^•BhHH iK**^^ H Hfe .i^^aJI^^H ^Kii^^i^m^S^^i hE2I ^IH ^H^Hp^rl^^ HP ^H ^^^^^^^^Hjy^V*^ >i'M''' , pP" !!^ ii^^^i ^^^^P )SiM .'l_a<2i;^^ ■H K ^ ^ ^^^^^^^^^^■ik-.-^-'^ 9 H B^ ^^ ^^^^^■Kg.'f?t HIF^ ••1 Parma, S. Giovanni Evangelista Fresko Detail vom Apostel Thaddaus (vgl. S. 76) Detail of the apostle Thaddeus 1520-1524 Detail de I'apotre Thadee Nach einer Aufnalime fiir das Italienisclie Ministerium des offentlichen Unterrichts 72 Parma, S. Giovanni Evangelista Details aus dem Kuppelgemaide Die Apostel Petrus und Paulus Oben nach dem Original, unten nach dem Aquarell von P. Toschi in der Galerie zu Parma The apostles Peter and Paul 1520-1524 Les apotres Pierre et Paul Above from the original painting, En haut d'apr^s la peinture originale, below from the copy by P. Toschi en bas d'apres la copie de P. Toschi Nach Aufnahmen von D. Anderson, Rom Correggio 10 73 Parma, S. Giovanni Evangelista Detail aus dem Kuppelgemalde: Paulus St. Paul 1520-1524 Saint Paul (Detail of the cupola) (Detail de la coupole) Nach einer Aufnalime fur das Italienisclie Ministerium des olfentlichen Unterrichts 74 Parma, S. Giovanni Evangelista p Detail aus dem Kuppelgemalde: Petrus St. Peter 1520-1524 Saint Pierre (Detail of the cupola) (Detail de la coupole) Nacli einer Aufnahme filr das Italienische Ministerium des offentliclien Unterriclits 75 Parma, S. Giovanni Evangelista Detail aus dem Kuppelgemalde : Thaddaus St. Thaddeus 1520-1524 Saint Thadee (Detail of the cupola) (Detail de la coupole) Nach einer Aufnalime fur das Italienische Ministerium des 6ffentllchen Unterrichts 76 Parma, S. Giovanni Evangelista Details aus dem Kuppelgemalde Die Apostel Philippus und Thaddaus Oben nach dem Original, unten nach dem Aquarell von P. Toschi in der Galerie zu Parma The apostles Philip and Thaddeus 1520—1524 Les apotres Philippe et Thadee Above from the original painting. En haut d'apres la peinture originale below from the copy by P. Toschi en bas d'apres la copie de P. Toschi Nach Aufnahmen von D. Anderson, Rom 77 ■l5?V>ijr. f^^.f M Die Heiligen Marcus und Gregor St. Mark and St. Gregory Saint Marc et Saint Gregoire Parma, S. Giovanni Evangelisla Details aus dem Kuppelgemalde Die Heiligen Johannes und Augustinus Nach den Aquarellen von P. Toschi in der Galerie zu Parma St. John and St. Augustine 1520—1524 Saint Jean et Saint Augustin Details of the cupola. From the copies Details de la coupole. D'apres les copies by P. Toschi de P. Toschi Nach Aufnahmen von D. Anderson, Rom 78 Die Heiligen Lucas und Ambrosius St. Luke and St. Ambrosius Saint Luc et Saint Ambroise W \ __j|^Bfc « "w '■ ^^I^KISmS' -^W » ^P^\^?^"'' * -^ ^w? -^^^^ 'i^^KS^ : I,- I<.,-^ '^ **^' ■ '-^ I^^^B^ ' .^JH^^^^^^^^^^^I ^1* Parma, S. Giovanni Evangelista Details aus dem Kuppelgemaide Die Heiligen Matthaus und Hieronymus Nach den Aquarellen von P. Toschi in der Galerie zu Parma St. Matthew and St. Jerome 1520—1524 Saint Mathieu et Saint Jerome Details of the cupola. From the copies Details de la coupole. D'apres les copies by P. Toschi de P. Toschi Nach Aufnatimen von D. Anderson, Rom 79 O ^ E J 1- o E -2 S2 o ~ .80 .'ft- - ...v, -^.. .. ".. •>^^., ■ ,. ... 1 . ^liU ' «l i£^viLJ#^^ ./• ^giPjyi i si*»-3aJ(w«.2-'--B» w: SP^^^HHH^^^^H •'■'ir ' J ' .-■ ". . „ u 1 ^^3bB PH i ^ BH m ir^^^^^^l .* li^^HI ^f^ R -^«y^l [iJL i'i ^ Sai^^H k. 1 •< "*fl^J^^R ^H •j^^«2^^ iM n^ ■i inil^^HI ^ 2 6 « Correggio 11 81 riTFitnf t ciifHTi Parma, S. Giovanni Evangelista Daniel (?) Elias Elias_ Elie Details aus dem Kuppelgemalde Details of the cupola 1520—1524 Details de la coupole 82 'Nacli dem Stich von Dom. Aspar Orlglnal-Gemalde verschoUen Ruhe auf der Flucht (sog. Madonna Bianconi) The rest on the fhght to Egypt Um 1522 Repos pendant la fuite en Egypte (From the engraving by Dom. Aspar, (D'apres la gravure de Dom. Aspar, the original-picture is lost) le tableau original ayant disparu) 83 •Budapest, Museum der bildenden Kiinste Auf Holz, H. 0,68, B. 0,57 Madonna mit dem Kinde und ein Engel (sog. Madonna del Latte) Virgin Mary with Child, and an angel Um 1522 La Vierge, I'Enfant et un ange Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 84 •London, Nationalgalerie Virgin Mary with Child Madonna della Cesta Urn 1622 Nach einer Aufnahme von Franz HanfstaengI, Miinchen Auf Holz, H. 0,34, B. 0,25 La Vierge et I'Enfant 85 ^ 86 87 Parma, Oalerie Die Kreuzabnahme The descent from cross (Ausschnitt) (Detail) Um 1522 La descente de croix (Detail) Nach einer Aufnahme von D. Anderson, Rora 88 *Florenz, Uffizien Auf Leinwand, H. 0,81, B. 0,77 Maria das Christkind anbetend Virgin Mary adoring the infant Christ Um 1522 L'enfant Jesus adore par la Vierge Nacli einer Aufnahme von Fratelli Alinari, Florenz Correggio 12 89 - .. ^ .^ r, ^ ,, Auf Holz, H. 1,30, B. 1,03 * Madrid, Prado-Museum , > . . Christus erscheint der Magdalena . Christ appearing to Magdalen Um 1523 Le Christ apparaissant a Madeleine Nach einer Aufnahme von D. Anderson, Rom 90 'Paris, Louvre Auf Holz, H. 1,05, B. 1,02 Die Vermahlung der heiligen Katharina The marriage of St. Catlierine Um 1523-1525 Le mariage de Sainte Catiierine Nach einer Aufnahme von Braun, Clement & Cie., Dornach (Elsass) 91 f Paris, Louvre Jupiter and Antiope Jupiter und Antiope Urn 1523-1525 Auf Leinwand, H. 1,90, B. 1,24 Jupiter et Antiope Nach einer Aufnahme von Brauii, Clement & Cie., Dornach (Elsass) 92 Auf Leinwaiid, H. 1,55, B. 0,92 'London, Natlonalgalerle Die Erziehung des Amor Mercury instructing Cupid in ^^ 1523—1525 Mercure instruisant Cupidon the presence of Venus en presence de Venus Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 93 * Dresden, Kgl. Gemaldegalerie Auf Holz, H. 2,65, B. 1,61 Madonna mit dem heiligen Sebastian Virgin Mary with St. Sebastian Urn 1525 La Vierge et Saint Sebastien Nacli elner Aufnahme der Verlagsanstalt F. Bruckniann A.-G., Miinchen 94 m Dresden, Kgl. GemSldegalerie Madonna mit dem heiligen Sebastian Virgin Mary with Child (Ausschnitt) La Vierge avec I'Enfant (Detail of the foregoing picture) Um 1525 (Detail du tableau precedent) Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-O., Miinchen 95 c ■fl Q m B O (U c .f^ c < « J .OJ C 96 c > i-J u> U 3 o M > s < Correggio 13 97 'Parma, Oalerie Virgin Mary with Child Madonna della Scala Madonna della Scala Um 1525 Nach einer Aufiialime von D. Anderson, Rom Fresko, H. 1,60, B. 1,10 La Vierge avec I'Enfant Madonna della Scala 98 * Parma, Dom The assumption Total view of the cupola Die Himmelfahrt Maria Das Kuppelgemalde als Ganzes 1526-1530 L'ascension de la Vierge Vue generale de la coupole Nach einer Aufnaliine von D. Anderson, Rom 99 Himmelfahrt Maria Nach dem Aquarell von P. Toschi in der Galerie zu Parma The assumption 1526-1530 L'ascension de la Vierge From the copy by P. Toschi D'apres la copie de P. Toschi Nach einer Aufnahme von D. Anderson, Rom 100 101 CL, o. o •a 102 O H &, Si Q < < Q E 103 104 Ol, ra Q .S < < O H 3 a, (U tl^ o S Correggio 14 105 106 ^ < < B o o Q B o 107 108 a» o '5. • 0) .0) Q, ■« 3 o 109 ^fc-« m} 1^ i^^^l^^ 9 r • 'k. H^^p^^^l^v^ 1 ^, «jr ..^•- 03 Q 110 S. H Sh bjO Q -»-. °* 111 oo t%^iik» "^I^^^HL ' \^ ^^B l^^^^.x-^l'^ip ^"UHl^MI |||M|| HP '^ '"'^^u ■ L^^^S^^ •"' / .JHI^^^^o ^^H H •a -1-= E S Q e< E r= 112 mm a. 3 -^ 2 Correggio 15 113 114 115 M 116 2 - B ex W) ■« < ^ Q c 3 E 1 E .5 o S 117 118 'Hamptoncourt, Galerie St. Catherine Auf Leinwand, H. 0,62, B. 0,50 Die heilige Katharina Urn 1526 Sainte Catherine Nach einer Aufiiahme von W. M. Spooner & Co., London 119 * London, Herzog von Wellington Christ's agony in the garden Nach einer Autnahme von Braun, ClC-ment & Cie., Dornadi (Elsass) Christus am Oelberg Urn 1526—1528 Auf Holz, H. 0,37, B. 0,40 Le Christ au jardin des oliviers 120 * London, Nationalgalerie Ecce homo Um 1526—1528 Auf Holz, H. 0,92, B. 0,79 Nach einer Aufnahme von Franz HanfstaengI, Munchen Correggio 16 121 122 Parma, Galerie Das Martyrium der Heiligen Placidus und Flavia St. Placidus (Ausschnitt) Saint Placide (Detail of the foregoing picture) Um 1526—1528 (Detail du tableau precedent) Nach einer Aufnahme von D. Anderson, Rom 123 M * Parma, Galerie Auf Holz, H, 2,05, B. 1,41 Madonna mit dem heiligen Hieronymus, gen. Der Tag Virgin Mary with St. Hieronymus (The Day) Um 1527—1528 La Vierge avec Saint Jerome (Le Jour) Nach einer Aufiiahme von D. Anderson, Rom 124 125 m Parma, Galerie Madonna mit dem heiligen Hieronymus (Ausschnitt) An angel Um 1527-1528 Un ange (Detail of the picture p. 124) (Detail du tableau p. 124) Nach einer Aufnatime von D. Anderson, Rom 126 Parma, Oalerie Madonna mit dem heiligen Hieronymus (Ausschnitt) St. Magdalen Urn 1527-1528 Sainte Madeleine (Detail of the picture p. 124) (Detail du tableau p. 124) Nach einer Aufnahme von D. Anderson, Rom 127 * Parma, Galerie Madonna della Scodella (im alien Rahmen) The "Madonna della Scodella" in its original frame Urn 1529-1530 La „ Madonna della Scodella" dans I'ancien cadre Nach einer Aufnahme von D. Anderson, Rom 128 Parma, Galerle Auf Holz, H. 2,18, B. 1,37 Madonna della Scodella The rest on the flight to Egypt Um 1529—1530 Repos pendant la fuite en Egypte Nach einer Aufnahme von D. Anderson, Rom Correggio 17 129 Parma, Galerle Madonna della Scodella (Ausschnitt) Virgin Mary with Child Um 1529-1530 (Detail of the foregoing picture) La Vierge avec I'Enfant (Detail du tableau precedent) Nach einer Aufnahme von D. Anderson, Rom 130 '''Die „Heilige Nacht" in ihrem urspriinglichen Rahmen (Der Rahmen in Reggio Emilia) The original frame of "The Night" Etwa 1530 L'ancien cadre de „La Nuit" in Reggio Emilia a Reggio Emilia 131 M Auf Holz, H. 2,565, B. 1,1 * Dresden, Kgl. Gemaidegalerie Die Geburt Christi, gen. Die Nacht The Nativity (The Night) Etwa 1530 La Nativite (La Nuit) Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., Miinchen 132 .? ^H ^^^^mam^^ 9^ ^ K^^Hr v.^:. -^^^P^ ^// f *^-^^^.«^ ^^miimp<'4^>. ., /"?■ *< Dresden, Kgl. Genialdegalerie Virgin Mary with Child (Detail of the foregoing picture) Die Nacht (Ausschnitt) Etwa 1530 La Vierge avec I'Enfant (Detail du tableau precedent) Nacli einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., Munchen 133 M *Wien, Hofmuseum Auf Leinwand, H. 1,63, B. 0,74 lo Um 1530 Nach einer Aufnahme von Franz Hanfstaengl, Miinchen 134 * Wien, Hofmuseum Auf Lelnwand, H. 1,63, B. 0,71 Ganymed Urn 1530 Ganymede Um 1530 Ganymede Nach einer Aufnahme von Franz Hanfstaengl, Munchen 135 ^ ' Dresden, Kgl. GemSldegalerie Auf Holz, H. 2,85, B. 1,90 Madonna mit dem heiligen Georg Virgin Mary with St. George Etwa 1530-1532 La Vierge avec Saint George Nacli einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., Miinchen 136 Dresden, Kgl. Gemaidegalerie Madonna mit dem heiligen Georg Virgin Mary with Child (Ausschnltt) La Vierge avec I'Enfant (Detail of the foregoing picture) Etwa 1530—1532 (Detail du tableau precedent) Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., MunchenJ Correggio 18 137 •Paris, Louvre Die Tugend Virtue Um 1532—1533 Nach eiiier Aufnahme von A. Giraudon, Paris Auf Leinvvand, H. 1,41, B. 0,8 La Vertu 138 * Paris, Louvre Vice Das Laster Um 1532—1533 Nach einer Aufnahme von A. Giraudon, Paris Auf Leinvvand, H. 1,41, B. 0,8 Le Vice 139 ^ x; E I E ID 140 ■ Parma, Galerie Flying youth (Copy of a lost picture) Auf Leinwand, H. 0,66, B. 0,55 Fliehender Jiingling (Kopie eines verschoUenen Originals) Jeune homme fuyant (Copie d'un tableau perdu) 143 •a DO CQ 144 Dresden, Kgl. Gemaldegalerie Btissende Magdalena St. Magdalen (Ausschnitt) (Detail of the foregoing picture) Sainte Madeleine (Detail du tableau precedent) Nach einer Aufnahme der Verlagsanstalt F. Bruckmann A.-G., Miinchen Correggio 19 145 * London, Sir J. C. Robinson Johannes der Taufer St. John the Baptist Saint Jean-Baptiste Nacli einer Aufnalime von Braun, Clement & Cic., Dornacli (Elsass) 146 VNV\ SPIRUVS * Johannes der Taufer St. John the Baptist Nach dem Stich von C. Colombini Saint Jean-Baptiste After the engraving by C. Colombini D'apres la gravure de C. Colombini 147 M *Rom, Pinakothek des Vatikan Der Erldser The Saviour (Kopie) Le Sauveur (Copy of a lost picture) (Copie d'un tableau perdu) Nacli einer Auiiialime von D. Anderson, Rom 148 ° •n 0) t; Xi ■a ^ c a> c c •n J c J2 re C/3 'a. 3 < < c [5) o U I: 149 *Rom, Donna Lina Corsini St. Catherine Die heilige Katharina Sainte Cattierine 150 Oldenburg, Grosslierzogl. Qemiilde-Sammlung St. John the Baptist Johannes der Taufer Auf Leiiuvand, H. 1,05, B. 0,75 Saint Jean-Baptiste 151 ^WH^^J * Parma, Galerie Auf Holz, H. 0,62, B. 0,47 Unbekannter Schiller des Correggio: Bildnis des Nicolo Maria Quirico Sanvitale (?) Portrait of Portrait de Nicolo Maria Quirico Sanvitale Nicolo Maria Quirico Sanvitale (Picture of Correggio's school) (Tableau de I'ecole de Correggio) Nach einer Aufnahme von D. Anderson, Rom 152 O 4> « -J Cl, .2 _c ~ t. 2 Correggio 20 153 <0 "C c ce" 0^ X s 3 CK a> o 154 > Parma, Galerie Aiif Holz, H. 2,91, B. 1,93 Unbekannter Schuler des Correggio: Die Kreuztragung Christi Christ bearing the cross Le Christ portant la croix Nach einer Aufnalimc von D. Anderson, Rom 155 "^mn 156 ^9-/%9A7 San/rancwco