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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the two canvases painted in tempera, in the Louvre. The typesare peculiarly attractive, and the figures are remarkable for their easy and vigorousaction. They were ori-ginally included inIsabella dEstescollection, and arethus loosely de-scribed in a noticewritten about themiddle of the six-teenth century : Two pictures bythe late Antonio daCorreggio, in oneof which is paintedthe story of Apolloand Marsyas (sic),in the other thethree Virtues, Jus-tice, Temperance,and Fortitude, in-structing a childso to spend its timethat it may receivefrom them thecrown and palm.1Like the Antiope,they passed intothe possession of Charles I. of England in 1628, and afterwardsinto that of the Parisian banker, Jabach. The Virtue was after- so ascribed. I had already written the above observations on the Ganymede when Dr.Hugo von Tschudi introduced me to his study, Correggios mythologische Darstellungen,published in the Graphischen Kiinsten. Vienna, 1880.1 Carlo dArco, op. cit. ii. p. 134. Meyer, p. 354.
Text Appearing After Image:
VICE, AN ALLEGORY, BY CORREGGIO. In the Louvre. VIRTUE, AN ALLEGORY 323 wards acquired by Cardinal Mazarin, and finally by Louis XIV. TheVice was sold to the French King by Jabach himself in 1671. Vice is seated at the foot of a group of trees, and struggles to free himself from the cords which bind him to the trunks. Three women, their hair entwined with serpents, stand about him. One of them presents him with some vipers, which rear their crests at him from her hand ; the second deafens him with the sound of a pipe, which she blows loudly close by him ; the third binds his feet. Mengs explains the first figure to be Conscience, who stings him, the third, Habit, who enslaves him, the second, Pleasure, who flatters his senses with melody. It is certain, how-ever, that none of the three produces such keen discomfort in the sufferer as the Pleasure, with her ear-piercing notes ! She is, more probably, the representative of Conscience, tormenting him with her keen and sibilant reproof; t

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