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Excerpt from Correggio a Collection of Fifteen Pictures, and a Supposed Portrait of the Painter: With Introduction and Interpretation To the general public the works of Correggio are much less familiar than those of other Italian painters. Parma lies outside the route of the ordinary tourist, and the treasures of its gallery and churches are still unsuspected by many. It is hoped that this little collection of pictures may arouse a new interest in the great Emilian. The selections are about equally divided between the frescoes of Parma and the easel paintings scattered through the various European galleries. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.

In the northern part of Italy is the little town of Correggio, which gave its name to the painter whose works we are to study. His real name was Antonio Allegri, but in the sixteenth century a man would often be called by a nickname referring to some peculiarity, or to his birthplace. When Allegri went to Parma he was known as Antonio da Correggio, that is, Antonio from Correggio, and the name was then shortened to Correggio.A large part of Correggio's work was mural decoration, painted on the surface of the plastered wall. Besides such frescoes he painted many separate pictures, mostly of sacred subjects to be hung over the altars of churches. The choice of subjects was much more limited in his day than now, and, with the exception of a few mythological paintings, all Correggio's themes were religious. The subject most often called for was that of the Madonna and Child. Madonna is the word, meaning literally My Lady, used by the Italians when speaking of Mary, the mother of Jesus. The Madonna and Child is then a picture of the mother Mary holding the Christ-child.Our illustration is from such a picture called "La Notte," the Italian for The Night. The night meant by the title is that on which Jesus was born in Bethlehem of Judæa. It was at a time known in history as the Augustan Age, when Rome was the great world-power. Judæa was only an obscure province of the vast Roman Empire, but here was the origin of the influence which was to shape later history. The coming of Jesus brought a new force into the world.The story of his infancy has been made familiar by the four Evangelists. He was born in surroundings which, in Roman eyes, were fit only for slaves. Mary and Joseph had come up from their own home to Bethlehem to pay the taxes exacted at Rome. The town was full of people on the same errand, and "there was no room for them in the inn." So it came about that the new-born babe was wrapped in swaddling clothes and laid in a manger used for feeding cattle.While he lay in this strange cradle his birth was made known by a vision of angels to some shepherds on the neighboring hillsides. At once they betook themselves joyfully to Bethlehem, the first to do honor to the new-born king. These homely visitors are gathered about the manger in Correggio's picture. The dark night is without, but a dazzling white light shines from the Holy Child.

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In the northern part of Italy is the little town of Correggio, which gave its name to the painter whose works we are to study. His real name was Antonio Allegri, but in the sixteenth century a man would often be called by a nickname referring to some peculiarity, or to his birthplace. When Allegri went to Parma he was known as Antonio da Correggio, that is, Antonio from Correggio, and the name was then shortened to Correggio.A large part of Correggio's work was mural decoration, painted on the surface of the plastered wall. Besides such frescoes he painted many separate pictures, mostly of sacred subjects to be hung over the altars of churches. The choice of subjects was much more limited in his day than now, and, with the exception of a few mythological paintings, all Correggio's themes were religious. The subject most often called for was that of the Madonna and Child. Madonna is the word, meaning literally My Lady, used by the Italians when speaking of Mary, the mother of Jesus. The Madonna and Child is then a picture of the mother Mary holding the Christ-child.Our illustration is from such a picture called "La Notte," the Italian for The Night. The night meant by the title is that on which Jesus was born in Bethlehem of Judæa. It was at a time known in history as the Augustan Age, when Rome was the great world-power. Judæa was only an obscure province of the vast Roman Empire, but here was the origin of the influence which was to shape later history. The coming of Jesus brought a new force into the world.The story of his infancy has been made familiar by the four Evangelists. He was born in surroundings which, in Roman eyes, were fit only for slaves. Mary and Joseph had come up from their own home to Bethlehem to pay the taxes exacted at Rome. The town was full of people on the same errand, and "there was no room for them in the inn." So it came about that the new-born babe was wrapped in swaddling clothes and laid in a manger used for feeding cattle.While he lay in this strange cradle his birth was made known by a vision of angels to some shepherds on the neighboring hillsides. At once they betook themselves joyfully to Bethlehem, the first to do honor to the new-born king. These homely visitors are gathered about the manger in Correggio's picture. The dark night is without, but a dazzling white light shines from the Holy Child.