Antonio Allegri da Correggio, his life, his friends, and his time . or this work was drawn up by Galeazzo Piazza, in the presence of Scipione Montino della Rosa and of Alessandro Araldi. The first notice of a payment madeto Correggio occurs November 29, 1526.He acknowledges having received onaccount seventy-six gold ducats, thirteenimperial soldi, part of the first instal--^ I I ^ ment of 275 ducats, for his work in the cupola, in the presence of Don Nicolodei Gotti, son of Rolando, syndic andprocurator to the Chapter of the greatchurch of Parma.- Another document shows that onNovember 17, 15
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Antonio Allegri da Correggio, his life, his friends, and his time . or this work was drawn up by Galeazzo Piazza, in the presence of Scipione Montino della Rosa and of Alessandro Araldi. The first notice of a payment madeto Correggio occurs November 29, 1526.He acknowledges having received onaccount seventy-six gold ducats, thirteenimperial soldi, part of the first instal--^ I I ^ ment of 275 ducats, for his work in the cupola, in the presence of Don Nicolodei Gotti, son of Rolando, syndic andprocurator to the Chapter of the greatchurch of Parma.- Another document shows that onNovember 17, 1530, he receivedanother 175 gold ducats, the balanceof the first instalment. But enoughof this. The disappearance of many of the books and documents of the cathedral coKKECG^o.^ ?^^^™^ archives make it impossible to give the history of Correggios frescoes in minute detail. In addition to the few entries already quoted, we find another in the debtor and creditor account-book of the church, from which we learn that Correggios heirs were called upon to refund 140. 1 Archives of Parma Cathedral, case i. no. 11. - Legal archives of Parma. Deeds drawn by Galeazzo Piazza, under above date.The street where Correggio lived in Parma is mentioned in this document. DomimisAntoiiius Alegris fil. Domini Felegrini de Corigia pictor vicitiie S.Johannis Evangelishepro burgo anteriori sat Pischario. There is also a precis of the deed in the archives ofthe cathedral, case i. no. 13. ^ Archives of Parma Cathedral, case i. no. 17. Pungileoni (ii. [1.233), followed bymany others, adds that in the books of the cathedral there is an entry referring to Antonioin February, 1531, but he neither specifies the book nor tiuotes the passage, and probablymade a mistake. GENERAL VIEW OF THE DOME imperial liiw paid to the painter for work in the cupola which he haddied before completing. We will now take a rapid general survey of the cupola. In the pendentives, four saints are seated on clouds amidst a con-cou