Antonio da Correggio

(click to enlarge)
Jupiter and Io, oil on canvas by Correggio, 1530; in the … (credit: Courtesy of the Kunsthistorisches Museum, Vienna)

(born August 1494, Correggio, Modena — died March 5, 1534, Correggio) Italian painter. He studied the work of Andrea Mantegna in Mantua and was influenced by Leonardo da Vinci. On a visit to Rome he was inspired by the Vatican frescoes of Michelangelo and Raphael. By 1518 he was in Parma, the scene of his greatest activity. His first large-scale commission there was the ceiling decoration of the Camera di San Paolo, in the convent of St. Paul (c. 1518 – 19). His fresco in the dome of Parma Cathedral (c. 1525 – 30) features the dramatic illusionistic style that influenced dome painting in the Baroque period. His use of bold foreshortening, his brilliant, highly original approach to colour and light, and the exquisite grace of his figures established him as one of the most inventive artists of the High Renaissance.

For more information on Correggio, visit Britannica.com.

(b Correggio, ?1489; d Correggio, 5 March 1534). Italian painter and draughtsman. Apart from his Venetian contemporaries, he was the most important northern Italian painter of the first half of the 16th century. His best-known works are the illusionistic frescoes in the domes of S Giovanni Evangelista and the cathedral in Parma, where he worked from 1520 to 1530. The combination of technical virtuosity and dramatic excitement in these works ensured their importance for later generations of artists. His altarpieces of the same period are equally original and ally intimacy of feeling with an ecstatic quality that seems to anticipate the Baroque. In his paintings of mythological subjects, especially those executed after his return to Correggio around 1530, he created images whose sensuality and abandon have been seen as foreshadowing the Rococo. Vasari wrote that Correggio was timid and virtuous, that family responsibilities made him miserly and that he died from a fever after walking in the sun. He left no letters and, apart from Vasari's account, nothing is known of his character or personality beyond what can be deduced from his works. The story that he owned a manuscript of Bonaventura Berlinghieri's Geographia, as well as his use of a latinized form of Allegri (Laetus), and his naming of his son after the humanist Pomponius Laetus, all suggest that he was an educated man by the standards of painters in this period. The intelligence of his paintings supports this claim. Relatively unknown in his lifetime, Correggio was to have an enormous posthumous reputation. He was revered by Federico Barocci and the Carracci, and throughout the 17th and 18th centuries his reputation rivalled that of Raphael.

See the Abbreviations for further details.

The Italian painter Correggio (ca. 1494-1534) is famous for the grace and refinement of his art. He rendered nature with clarity and gentleness, as if it were all music, and he also was a pioneer in executing daringly foreshortened ceiling paintings.

The real name of Correggio was Antonio Allegri, but he is known by the name of his birthplace, Correggio, near Reggio Emilia. He received his early training from fairly indifferent painters in his home town, but his earliest documented works, such as the Madonna of St. Francis (1515; Dresden), show him as a master who, much impressed with the monumentality of the works of Andrea Mantegna, knew how to join it to the traditions of the luminous and colorful art of Emilia. An early-17th-century source reports that Correggio worked for a time in Mantua, and several units of the decoration of Mantegna's funerary chapel in S. Andrea have been attributed to his hand.

As was true of most north Italian painters of the time, the art of the great Venetian and Florentine painters was reflected in Correggio's work. Many of his early pictures, such as the Madonna and Child with the Infant St. John (ca. 1515; Madrid) and the Rest on the Flight into Egypt (ca. 1516; Florence), show that he responded with particular happiness to the inventions and discoveries of Giorgione, Leonardo da Vinci, and Raphael. Another formative influence on his work was the engravings of Albrecht Dürer.

It is established with reasonable certainty that Correggio spent the better part of 1518 or 1519 in Rome. His later work shows that he received immense benefit from studying the works of Raphael and Michelangelo. Correggio was selective in what he adapted from their work, and he succeeded, in his most ambitious paintings, in reconciling and putting to splendid use the often conflicting lessons in the greatness of art that may be drawn from Raphael's Stanza della Segnatura and Michelangelo's Sistine Chapel ceiling.

Mural Paintings

Correggio executed three elaborate fresco commissions in Parma. The first was the decoration of the abbess's drawing room in the Benedictine convent of S. Paolo (ca. 1518-1520). Over the fireplace is a painting of Diana in her chariot. The painted ceiling transforms the chamber into an artful green bower with garlands of fruit hanging down into the room. In the ceiling are simulated niches painted in grisaille with representations of divinities and allegories which look as if they are works of sculpture come to life. Above these niches is a cycle of lunettes in which cupids, painted in flesh color, display various attributes of the hunt.

Correggio's second commission was the decoration of the cupola, apse, and frieze of the church of S. Giovanni Evangelista (1520-1524). Especially in the cupola painting he put to the test the lessons in figure drawing and architectural perspective which only the Roman art of Michelangelo and Raphael can have taught him. Correggio filled the lower rim of the cupola with a majestic array of saints joined by angels. Some of them look down on the viewer; others look up raptly at the figure of Christ, who rises toward a myriad of angels all shining with golden light. Christ not only dominates the figures represented on the cupola but with a great, exhortative, and yet fleeting gesture calls toward himself the worshipers in every part of the church.

Even more ambitious are the frescoes Correggio painted in the Cathedral of Parma (ca. 1524-1530). He transformed the interior of the immense octagonal, funnelshaped Romanesque cupola into a vision of the heavens opened for the assumption of Mary. A host of music-making and dancing angels, portrayed in the most daring foreshortening, joyfully move about the clouds and, together with a number of saintly figures, surround a core of heavenly light, toward the source of which Mary, her arms opened in a gesture of bliss and grateful response, is being lifted. The archangel Gabriel, painted very large and almost in the center of the composition, has come to greet Mary and to fly on before her.

Religious Panel Paintings

Correggio, in the period of his maturity, painted five great altarpieces: the Madonna of St. Sebastian (ca. 1525), the Adoration of the Shepherds (ca. 1530), the Madonna of St. George (ca. 1532; all in Dresden), the Madonna of St. Jerome (1528), and the Rest on the Flight into Egypt (1530; both in Parma). These works, though the presentation of their affecting subject matter is extraordinarily tender and moving, are painted, as befits their size, with a certain splendor of majesty.

In his smaller religious paintings, however, Correggio gave free rein to his lyrical imagination, as can be seen in his Christ on the Mount of Olives (ca. 1525; London). The great pathos of the kneeling Christ submitting himself with an open, giving gesture of the arms to the will of his Father is enhanced by the soft darkness of the night surrounding him and the singular gentleness and tearful beauty of his face lit up by a heavenly splendor.

When representing cheerful subjects, such as the Mystic Marriage of St. Catherine (ca. 1525; Paris), Correggio bestowed an infinite tenderness upon the scene. The picture shows us not only the happiness of a wonderful moment in the life of the saint but also brings us closer to an understanding of the simplicity and exquisite fineness of the complete and loving surrender of a noble soul to its maker. Among Correggio's other great works in this genre the Madonna of the Basket (ca. 1523; London) and the Madonna Adoring the Christ Child (ca. 1525; Florence) are especially noted for their lyrical charm.

Mythological and Allegorical Paintings

Correggio brought as much love and gentle understanding to his mythological subjects as to his Christian topics. There are six mythological paintings by Correggio, all commissioned by the Duke of Mantua but not necessarily part of the same decorative project.

The Education of Cupid (ca. 1525; London) is a humanistic allegory ostensibly in praise of the love of learning, but the beauty of Venus's fully revealed body, her enigmatic smile, and the splendidly erotic glance of her wide-open and curiously musing eyes directed straight at the beholder triumphantly keep us from paying much attention to the allegorical significance of the story.

The other five paintings represent famous love affairs of Jupiter. In these works Correggio portrayed scenes of sometimes quite absurd encounters, such as that of Leda and the Swan (ca. 1532; Berlin), with a literal accuracy and gentle delight which is, at once, tenderly amused and erotically compassionate. The most artful and affecting among these pictures is surely Io Approached by Jupiter in the Form of a Cloud (ca. 1532; Vienna), in which the cloud that softly envelops the enraptured nymph hides and yet reveals a very real physical likeness of the god in the fullness of the beauty of youth.

Correggio also painted two complex and not readily decipherable allegorical compositions for the studiolo of Isabella d'Este in Mantua (ca. 1533). One represents the exquisite tortures suffered by the man ruled by passions and vice; the other, the triumph of virtue and statecraft over vice. Characteristically the most impressive and engaging figure in this group is the cupid in the extreme foreground of the picture showing the triumph of the passions. He invitingly holds up a bunch of grapes and looks at us with an irresistibly knowing, sovereign, and vaguely malicious smile.

Influence and Reputation

When Correggio died in 1534 in his native town, he was at the height of his creative life. He left behind no students worthy of his name, and in his immediate neighborhood only Parmigianino profited greatly from the example of his work. Correggio was famous in his lifetime, but since his works, especially the great frescoes in Parma, were in out-of-the-way places, he was at first more readily praised than seriously studied.

At the beginning of the 17th century the Carracci, touched by the facility and grace of Correggio's art, made him one of their greatest heroes. As their influence rose, so did his. Correggio's art of opening up ceilings illusionistically was adapted and, to a considerable extent, vulgarized during the 17th century.

Correggio's influence on 18th-century painting was all-pervasive. When the reputation of 18th-century art declined, the appreciation of Correggio's oeuvre declined with it. And it did not rise again significantly when 18th-century art was restored to critical favor, perhaps because the exquisite grace of Correggio's style demands a greater commitment of gentleness and refinement than does the charming playfulness generally associated with the rococo.

The painter Anton Raphael Mengs was one of the most perceptive and articulate students of the master's work. In his Memorie sopra il Correggio (Opere, 1783) he wrote that Correggio arrived at a perfection of painting because "he added to the representation of grandness and the imitation of nature a certain lightness which now a days we are in the habit of calling 'good taste'; but in fact this good taste is simply the ability to delineate the true nature of things and to exclude all extraneous elements as insipid and useless."

Further Reading

There is no modern appreciation in English of the complete work of Correggio. Arthur E. Popham's magisterial Correggio's Drawings (1957) transcends the limited scope indicated by its title and probably will remain one of the best introductions to Correggio's art. It also contains a concise critical review of the most important earlier publications on Correggio. Erwin Panofsky, The Iconography of Correggio's 'Camera di San Paolo' (1961), is concerned with the meaning of the allegories in the abbess's drawing room, and it also serves as an introduction to the social and political environment of the time. Works in Italian include A. C. Quintavalle, L'opera completa del Correggio (1970), which contains reproductions of all works generally attributed to Correggio, and Roberto Tassi, Il duomo di Parma (1966), a splendidly illustrated book on Correggio's ceiling paintings in the the Cathedral.

Correggio (Antonio Allegri; 1489/94–1534), Italian painter and draftsman. In the sixteenth century, Giorgio Vasari hailed Antonio Allegri (called Correggio) in his Lives of the Artists (1550), as the first Lombard artist to paint in the modern style. Although he worked in north Italian towns, such as his native Correggio and nearby Parma, rather than major artistic centers, he had a tremendous impact on later pictorial developments. His theatrical illusionism, rich coloring, and feathery brushwork were so widely imitated in the seventeenth century that he is often considered a precursor to the baroque.

Correggio's early career remains largely undocumented, including his year of birth (debated, c. 1489/c. 1494). He presumably learned the rudiments from his uncle Lorenzo Allegri and the Modenese painter Francesco Bianchi Ferrari, but found his first true inspiration in Andrea Mantegna (1431–1506). The convincing attribution of frescoes in Mantua (roundels from the church of Sant'Andrea, now in the Museo Diocesano) to the young Correggio supports a direct connection with this master and his workshop. The Madonna of Saint Francis (1514–1515; Dresden, Gemäldegalerie), Correggio's earliest extant documented picture, reveals the formative influence of Leonardo as well as Mantegna.

In Parma, around 1518–1519, Correggio decorated for Abbess Giovanna da Piacenza a small room in the Benedictine convent of San Paolo. The frescoes in the so-called Camera di San Paolo depict Diana, the goddess of chastity and the chase, and transform the ceiling into a verdant trellis populated by boisterous putti with hunting accoutrements. The unity of design, with its vocabulary of classicizing and more monumental forms, heralds the artist's mature style. Despite Vasari's claim that Correggio never traveled to Rome, it is now generally assumed, on stylistic grounds, that he took at least one such trip, probably before painting this chamber (c. 1518).

Correggio's success with the Camera di San Paolo soon led to other work in Parma, including two major fresco programs. In 1520, Correggio was commissioned to paint the dome, apse, and choir, followed by the nave frieze, of the Benedictine church of San Giovanni Evangelista, a project that occupied him (and his assistants) for four years (he received his final payment in January 1524). The Vision of Saint John the Evangelist on Patmos (c. 1522), depicted in the cupola, is indebted to both Michelangelo (Sistine Chapel ceiling, 1508–1512) and Raphael (Transfiguration, c. 1519–1520).

In November 1522, Correggio secured a contract for a vast campaign of mural decoration in Parma Cathedral, which he began some years later, but only partly completed (cupola and pendentives, c. 1524–1530). The dizzying illusionism of the cupola frescoes, in which a whirlwind of foreshortened angels and saints accompany the Virgin's Assumption, served as a fundamental point of reference for later experiments in baroque ceiling decoration.

Throughout his career, Correggio painted easel pictures of religious and mythological themes, but apparently few portraits. The altarpieces he made for patrons in Parma and nearby towns during the 1520s and 1530s reveal his ability to create poetic, strikingly original compositions. For example, the Adoration of the Shepherds (so-called Notte, contracted 1522, finished by 1530; Dresden, Gemäldegalerie) is a dramatic yet intimate nocturnal scene, in which a radiant infant dazzles the onlookers. No less inventive, if very different in subject matter, are the Loves of Jupiter commissioned by Federigo Gonzaga as a gift for Emperor Charles V. Correggio's sensuous handling of paint—as in the vaporous gray cloud enveloping the pearly nymph in Jupiter and Io (c. 1530–1534; Vienna, Kunsthistorisches Museum)—heightens the erotic content.

Although he applauded Correggio's unrivaled use of color, Vasari pointed out (perhaps unfairly) the artist's inadequacy in drawing. His designs can be untidy in appearance, but others are extraordinarily beautiful in their coloristic effects. Moreover, Correggio's known graphic oeuvre suggests that he probably drew compulsively in the planning of his paintings, producing numerous preliminary sketches, of which a mere fraction have survived.

Vasari described Correggio as, literally, self-effacing and noted that his likeness could not be found to illustrate the Lives. The phenomenal rise in Correggio's reputation in the following centuries generated great interest in his biography and art. Alleged portraits of the artist began to circulate, and the Vasarian characterization of a talented but timid provincial painter who had failed to visit Rome came under direct attack. In the seventeenth and eighteenth centuries, Correggio's prestige was second only to that of Raphael.

Bibliography

De Vito Battaglia, Silvia de. Correggio bibliografia. Rome, 1934. Comprehensive annotated bibliography of literature on Correggio from the sixteenth century until 1934.

Ekserdjian, David. Correggio. New Haven and London, 1997. Most recent English-language monograph on the artist, with keen observations on the patronage and intended site of works of art.

Gould, Cecil. The Paintings of Correggio. Ithaca, N.Y., 1976. Standard English-language monograph on the artist; includes documentary appendix.

Popham, A. E. Correggio's Drawings. London, 1957. The most important catalogue of the artist's drawings.

—MARY VACCARO

"Correggio" redirects here. For other uses, see Correggio (disambiguation).

Antonio da Correggio
Antonio Allegri da Correggio
Birth name	Antonio Allegri
Born	1489 Correggio, Italy
Died	March 4, 1534 Correggio, Italy
Nationality	Italian
Field	Fresco, Painting
Movement	High Renaissance Mannerism
Works	Camera della Badessa Jupiter and Io Assumption of the Virgin

Antonio Allegri da Correggio, usually known simply as Correggio, (August 1489 – March 5, 1534) was the foremost painter of the Parma school of the Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the 16th century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Rococo art of the 18th century.

Contents 1 Biography 2 Works in Parma 3 Mythological series based on Ovid's Metamorphoses 4 Evaluation 5 Selected works 6 External links

Biography

Antonio Allegri was born in Correggio, Italy, a small town near Reggio Emilia. His date of birth is uncertain (around 1489). His father was a merchant. Otherwise, little is known about Correggio's life or training. In the years 1503-1505 he apprenticed to Francesco Bianchi Ferrara of Modena. Here he probably knew the classicism of artists like Lorenzo Costa and Francesco Francia, evidence of which can be found in his first works. After a trip to Mantua in 1506, he returned to Correggio, where he stayed until 1510. To this period is assigned the Adoration of the Child with St. Elizabeth and John, which shows clear influences from Costa and Mantegna. In 1514 he probably finished three tondos for the entrance of the church of Sant'Andrea in Mantua, and then returned to Correggio: here, as an independent and increasingly renowned artist, he signed a contract for the Madonna altarpiece in the local monastery of St. Francis (now in the Dresden Gemäldegalerie).

Works in Parma

Jupiter and Io (c. 1531) typifies the unabashed eroticism, radiance, and cool, pearly colors associated with Correggio's best work.

By 1516, Correggio was in Parma, where he generally remained for the rest of his career. Here, he befriended Michelangelo Anselmi, a prominent Mannerist painter. In 1519 he married Girolama Francesca di Braghetis, also of Correggio, who died in 1529. One of his sons, Pomponio Allegri, became an undistinguished painter. From this period are the Madonna and Child with the Young Saint John, Christ Leaving His Mother and the lost Madonna of Albinea.

Correggio's first major commission (February-September of 1519) was the decoration ceiling of the private dining salon of the mother-superior (abbess Giovanna Piacenza) of the Convent of St Paul, called the Camera di San Paolo (Parma). Here he painted a delightful arbor pierced by oculi opening to glimpses of playful cherubs. Below the oculi are lunnetes with monochromic marble images. The fireplace is frescoed with an image of Diana. The iconography of the unit is complex, joining images of classical marbles to whimsical colorful bambini. While it recalls the secular frescoes of the pleasure palace of the Villa Farnesina in Rome, it is also a strikingly novel form of interior decoration.

He next painted the illusionistic Vision of St. John on Patmos (1520-21) for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling Assumption of the Virgin, crowded with layers of receding figures in Melozzo's perspective (from down to up). These two works would represent a highly novel treatment of dome decoration, using an illusionistic sotto in su perspective, and would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco Assumption of the Virgin, in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of Santa Maria dei Miracoli in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches. The massing of spectators in a vortex, creating both narrative and decoration, the illusionistic obliteration of the architectural roof-plane, and thrusting perspective towards divine infinity, was a device without precedent, and which depended on the extrapolation of the mechanics of perspective. The recession and movement implied by the figures all presage the dynamism that would characterize baroque painting.

Other masterpieces include The Lamentation and The Martyrdom of Four Saints [1], both at the Galleria Nazionale of Parma. The Lamentation is haunted by a lambence rarely seen in Italian painting prior to this time. The Martyrdom is also remarkable for resembling later Baroque compositions such as Bernini's (Truth) and Ercole Ferrata's (Death of Saint Agnes), showing a gleeful saint entering martyrdom.

Mythological series based on Ovid's Metamorphoses

Ganymede Abducted by the Eagle, one of the four mythological paintings commissioned by Federico II Gonzaga, is a proto-Baroque work due to its depiction of movement, drama, and diagonal compositional arrangement.

Aside from his religious output, Correggio conceived a now-famous set of paintings depicting the Loves of Jupiter as described in Ovid's Metamorphoses. The voluptuous series was commissioned by Federico II Gonzaga of Mantua, probably to decorate his private Ovid Room in the Palazzo Te. However, they were given to the visiting Holy Roman Emperor Charles V and thus left Italy within years of their completion.

Leda and the Swan, now in Staatliche Museen of Berlin, is a tumult of incidents: in the centre Leda straddles a swan, and on the right, a shy but satisfied maiden. Danaë, now in Rome's Borghese Gallery, depicts the maiden as she is impregnated by a curtain of gilded divine rain. Her lower torso semi-obscured by sheets, Danae appears more demure and gleeful than Titian's 1545 version of the same topic, where the rain is more accurately numismatic. The picture once called Antiope and the Satyr is now correctly identified as Venus and Cupid with a Satyr.

Ganymede Abducted by the Eagle depicts the young man aloft in literal amorous flight. Some have interpreted the conjunction of man and eagle as a metaphor for the evangelist John; however, given the erotic context of this and other paintings, this seems unlikely. This painting and its partner, the masterpiece of Jupiter and Io (reproduced above), are in Kunsthistorisches Museum of Vienna.

Evaluation

Correggio's famous frescoes in Parma seems to melt the ceiling of the cathedral and draw the viewer into a gyre of spiritual ecstasy.

Correggio was remembered by his contemporaries as a shadowy, melancholic and introverted character, traits possibly conditioned by his birth into a large and poor family.

Correggio is an enigmatic and eclectic artist, and it is not always possible to identify a stylistic link between his paintings. He appears to have emerged out of no major apprenticeship, and to have had little immediate influence in terms of apprenticed successors, but his works are now considered to have been revolutionary and influential on subsequent artists. A century after his death Correggio's work was well known to Vasari, who felt that he had not had enough "Roman" exposure to make him a better painter. In the 18th and 19th centuries, his works were often remembered in the diaries of foreign visitors to Italy, which led to a reevaluation of his art during the period of Romanticism. The flight of the Madonna in the vault of the cupola of the Cathedral of Parma inspired numerous scenographical decorations in lay and religious palaces during the 20th centuries.

Corregio's illusionistic experiments, in which imaginary spaces replace the natural reality, seem to prefigure many elements of Mannerist and Baroque stylistic approaches. In other words, he appears to have fostered artistic grandchildren, despite having no direct disciples outside of Parma, where he was influential on the work of Giovanni Maria Francesco Rondani, Parmigianino, Bernardo Gatti, and Giorgio Gandini del Grano. His son, Pomponio Allegri became a painter.

The Mystic Marriage of St. Catherine (c. 1520), Correggio's most important contribution to the High Renaissance art, exhibits Leonardo's pronounced influence on his early style.

In addition to the influence of Costa, there are echoes of Mantegna's style in his work, and a response to Leonardo da Vinci, as well.

Detail of Correggio's frescoes in the Camera di San Paolo.

Selected works

• Judith and the Servant (around 1510) Oil on canvas - Musée des Beaux-Arts, Strasbourg
• The Mystic Marriage of St. Catherine (1510-15) - National Gallery of Art, Washington
• Madonna (1512-14) - Oil canvas, Castello Sforzesco, Milan
• Madonna with St. Francis (1514) - Oil on wood, 299 x 245 cm, Gemäldegalerie, Dresden
• Madonna of Albinea (1514, lost)
• Madonna and Child with the Young Saint John (1516) - Oil canvas, 48 x 37 cm, Museo del Prado, Madrid
• The Adoration of the Magi (1516-18)- Oil canvas, 84 x 108 cm, Brera, Milan
• Virgin and Child with an Angel (Madonna del Latte) (date unknown) - Oil on wood, 68 x 56 cm, Museum of Fine Arts, Budapest
• The Rest on the Flight to Egypt with Saint Francis (1517) - Oil on canvas, 123,5 x 106,5 cm, Galleria degli Uffizi, Florence
• Portrait of a Gentlewoman (1517-19) - Oil on canvas, 103 x 87,5 cm, Hermitage, St. Petersburg
• Adoration of the Child (1518-20) - Oil on canvas, 81 x 67 cm, Galleria degli Uffizi, Florence
• Camera di San Paolo (1519) - Frescoes, Nunnery of St Paul, Parma
• Passing Away of St. John (1520-24) - Fresco, S. Giovanni Evangelista, Parma
• Madonna della Scala (c. 1523) - Fresco, 196 x 141,8 cm, Galleria Nazionale, Parma
• Deposition from the Cross (1525)- Oil canvas, 158,5 x 184,3 cm, Galleria Nazionale, Parma
• Noli me Tangere (c. 1525) - Oil canvas, 130 x 103 cm, Museo del Prado, Madrid
• Ecce Homo (1525-30) - Oil canvas, National Gallery, London
• Madonna della Scodella (1525-30) - Oil canvas, 216 x 137 cm, Galleria Nazionale, Parma
• Mystic Marriage of St. Catherine (1526-27) - Wood, 105 x 102 cm, Musée du Louvre, Paris
• Assumption of the Virgin (1526–1530) — Fresco, 1093 x 1195 cm, Cathedral of Parma
• Madonna of St. Jerome (1527-28) - Oil on canvas, 205,7 x 141 cm, Galleria Nazionale, Parma
• The Education of Cupid (c. 1528) - Oil canvas, 155 x 91 cm, National Gallery, London
• Venus and Cupid with a Satyr (c. 1528) - Oil on canvas, 188 x 125 cm, Musée du Louvre, Paris
• Nativity (Adoration of the Shepherds, or Holy Night (1528-30) - Oil on canvas, 256,5 x 188 cm, Gemäldegalerie, Dresden
• Madonna with St. George (1530-32) - Oil on canvas, 285 x 190 cm, Gemäldegalerie, Dresden
• Danaë (c. 1531) - Tempera panel, 161 x 193 cm, Galleria Borghese, Rome
• Ganymede abducted by the Eagle (1531-32) - Oil on canvas, 163,5 x 70,5 cm, Kunsthistorisches Museum, Vienna
• Jupiter and Io (1531-32) - Oil canvas, 164 x 71 cm, Kunsthistorisches Museum
• Leda with the Swan (1531-32) - Oil canvas, 152 x 191 cm, Staatliche Museen, Berlin
• Allegory of Virtue (c. 1532-1534) - Oil canvas, 149 x 88 cm, Musée du Louvre, Paris

External links

Wikimedia Commons has media related to: Correggio

• http://www.ibiblio.org/wm/paint/auth/correggio/
• Freedberg, Sydney J. (1993). Pelican History of Art. ed. Painting in Italy, 1500-1600. pp. 267–290, 412–416. 
• Catholic Encyclopedia article It does not cite the mythological theme pictures.
• Correggio, by Estelle M. Hurll, 1901, from Project Gutenberg
• Works by Correggio at www.antoniodacorreggio.org
• Correggio exposition in Rome, Villa Borghese, 2008
• Video - Il Duomo di Parma, Assumption of the Virgin

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