Chapter XI: Correggio (antonio Allegri)

(Pronounced Cor-rage'jyo Ahl-lay'gree)
_School of Parma_
1494(?)-1534
_Pupil of Mantegna_

When Correggio was a little boy, he lived in the odour of spices, which were kept upon his father's shop-shelves. He was a highly-spiced little boy and man, although the most timid and shrinking. His imagination was the liveliest possible.

The spice merchant lived in the town of Correggio, and thus the artist got his name. Correggio knew what should be inside the lovely flesh of his painted figures before he began to paint them, because he studied anatomy in a truly scientific manner before he studied painting. Probably no other artist up to that time, had ever begun with the bare bones of his models, but Correggio may be said to have worked from the inside out. He learned about the structure of the human frame from Dr. Giovanni Battista Lombardi, and showed his gratitude to his teacher by painting a picture "Il Medico del Correggio" (Correggio's Physician), and presenting it to Doctor Lombardi.

Now Correggio's childhood, or at least his early manhood, could not have been spent in poverty, because it is known that he used the most expensive colours to paint with, painted upon the finest of canvas, while greater artists had often to be content with boards. He also painted upon copper plates, and it is said that he hired Begarelli, a sculptor of much fame, to make models in relief for him to copy for the pictures he painted on the cupolas of the churches in Parma. That sculptor's services must have been expensive.

On the lovely island of Capri, in the Franciscan convent, will be found one of his first pictures, painted when Correggio was about nineteen years old.

He was highly original in many ways. Although he had never seen the work of any great artist, he painted the most extraordinary fore-shortened pictures; and fore-shortening was a technicality in art then uncommon. He also was the first to paint church cupolas. Fore-shortening produces some peculiar as well as great results, and being a feature of art with which people were not then familiar, Correggio's work did not go uncriticised. Indeed one artist, gazing up into one of the cupolas where Correggio's fore-shortened figures were placed, remarked that to him it appeared a "hash of frogs."

But when Titian saw that cupola, he said: "Reverse the cupola, fill it with gold, and even then that will not be its money's worth."

Correggio did not receive very large sums for his work, and since he was married and took good care of his family, he must have had some source of income besides his brush. He received some interesting rewards for his paintings. For example, for "St. Jerome," called "Il Giorno," he was given "400 gold imperials, some cartloads of faggots and measures of wheat, and a fat pig." That picture is in the Parma Gallery, and all the cupolas which he painted are in Parma churches.

Some of his pictures are signed; "Leito," a synonym for his name, "Allegri." This indicates his style of art.

There is an interesting story told of how Correggio stood entranced before a picture of Raphael's, and after long study of it he exclaimed: "I too, am a painter!" showing at once his appreciation of Raphael's greatness and satisfaction at his own genius.

Doubtless a good share of Correggio's comfortable living came from the lady he married, since she was considered a rich woman for those times and in that locality. Her name was Girolama Merlini, and she lived in Mantua, the place where the Montagues and Capulets lived of whom Shakespeare wrote the most wonderful love story ever imagined. This young woman was only sixteen years old when Correggio met and loved her, and very beautiful and later on he painted a picture, "Zingarella," for which his wife is said to have been the model. It seems to have been a stroke of economy and enterprise for painters to marry, since we read of so many who made fame and fortune through the beauty of their wives.

They were very happy together, Correggio and his wife, and they had four children. Their happiness was not for long, because Correggio seems to have been but thirty-four years old when she died, nor did he live to be old. There is a most curious tale of his death which is probably not true, but it is worth telling since many have believed it. He is supposed to have died in Correggio, of pleurisy, but the story is that he had made a picture for one who had some grudge against him, and who in order to irritate him paid him in copper, fifty scudi. This was a considerable burden, and in order to save expense and time, it is said that Correggio undertook to carry it home alone. It was a very hot day, and he became so overheated and exhausted with his heavy load that he took ill and died, and he may be said literally to have been killed by "too much money," if this were true. Vasari, a biographer to be generally believed, says it is a fact.

Correggio said that he always had his "thoughts at the end of his pencil," and there are those who impudently declare that is the only place he _did_ have them, but that is a carping criticism, because he was a very great artist, his greatest power being the presentation of soft blendings of light and shade. There seem to have been few unusual events in Correggio's life; very little that helps us to judge the man, but there is a general opinion that he was a kind and devoted father and husband, as well as a good citizen. With little demand upon his moral character, he did his work, did it well, and his work alone gave him place and fame.

He became the head of a school of painting and had many imitators, but we hear little of his pupils, except that one of them was his own son, Pompino, who lived to be very old, and in his turn was successful as an artist.

Correggio was buried with honours in the Arrivabene Chapel, in the Franciscan church at Correggio.

PLATE--THE HOLY NIGHT

This painting is not characteristic of Correggio's work, but nevertheless it is very beautiful. The brilliant warm light which comes from the Infant Jesus in His mother's arms is reflected upon the faces of those gathered about, and even illuminates the angelic group hovering above him. The slight landscape forming the background is also suggestive, and the conditions of the birth are indicated by the ass which may be seen in the middle distance. The faces of all are joyous yet full of wonderment, the whole scene intimate and human.

The picture is also called the "Adoration of the Shepherds," and that title best tells the story. See the shepherdess shading her face with one hand and offering two turtle-doves with the other. The ass in the distance is the one on which Mary rode to Bethlehem, and Joseph is caring for it. Even the cold light of the dawning day is softened by the beauty of the group below. This picture is in the Royal Gallery in Dresden.

PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE

The Infant Jesus sits upon His mother's lap, and places the ring upon St. Catherine's finger, while Mary's hand helps to guide that of her Child. This action brings the three hands close together and adds to the beauty of the composition. All of the faces are full of pleasure and kindliness, while that of St. Sebastian fairly glows with happy emotion. The light is concentrated upon the body of the Child and is reflected upon the faces of the women. This painting hangs in the Louvre.

Other great Correggio pictures are the "School of Cupid," which is more characteristic of his work; "Antiope," "Leda," "Danae," and "Ecce Homo."