It is mentioned in an inventory of the goods of Barbara Sanseverino dated 27 April 1596 as "a painting by Correggio, called the Marriage of Saint Catherine, small but rejoicing in extreme beauty". Sanseverino offered it as a gift to Vincenzo I Gonzaga, who had a particular interest in works by Correggio, but the work did not reach Mantua. Instead it was requested by Odoardo Farnese in Rome - Correggio's reputation was then at its peak thanks to the popularity of the Carracci brothers and their school.
The work may have been the painting seen in the Palazzo del Giardino by Scannelli and described by him in 1657 in his Microcosmo or alternatively a small painting of the subject recorded in the Palazzo Farnese in Rome in 1644. In either case, a copy of the painting definitely stayed in Rome and belonged to Lelio Guidiccioni, a man of letters. Giovan Battista Mercati produced a print of it and dedicated it to Guidiccioni - this print is more faithful to the original than the earlier print by Giorgio Ghisi.
A copy of the painting is now in the Hermitage Museum and - according to an engraving of it by Moette - it has an inscription on the back reading “Laus Deo, per Donna Mathilda d'Este Antonio Lieto da Correggio fece il presente quadretto per sua divozione. A.o 1517”.
Agostino Carracci was an Italian painter, printmaker, tapestry designer, and art teacher. He was, together with his brother, Annibale Carracci, and cousin, Ludovico Carracci, one of the founders of the Accademia degli Incamminati in Bologna. This teaching academy promoted the Carracci emphasized drawing from life. It promoted progressive tendencies in art and was a reaction to the Mannerist distortion of anatomy and space. The academy helped propel painters of the School of Bologna to prominence.
Taddeo Zuccaro was an Italian painter, one of the most popular members of the Roman mannerist school.
Antonio Allegri da Correggio, usually known as just Correggio, was the foremost painter of the Parma school of the High Italian Renaissance, who was responsible for some of the most vigorous and sensuous works of the sixteenth century. In his use of dynamic composition, illusionistic perspective and dramatic foreshortening, Correggio prefigured the Baroque art of the seventeenth century and the Rococo art of the eighteenth century. He is considered a master of chiaroscuro.
Annibale Carracci was an Italian painter and instructor, active in Bologna and later in Rome. Along with his brother and cousin, Annibale was one of the progenitors, if not founders of a leading strand of the Baroque style, borrowing from styles from both north and south of their native city, and aspiring for a return to classical monumentality, but adding a more vital dynamism. Painters working under Annibale at the gallery of the Palazzo Farnese would be highly influential in Roman painting for decades.
Palazzo Farnese or Farnese Palace is one of the most important High Renaissance palaces in Rome. Owned by the Italian Republic, it was given to the French government in 1936 for a period of 99 years, and currently serves as the French embassy in Italy.
Giovanni Lanfranco was an Italian painter of the Baroque period.
The Ducal Palace, also known as Reggia di Colorno, is an edifice in the territory of Colorno, Emilia Romagna, Italy. The palace we see today was refurbished by Francesco Farnese, Duke of Parma in the early 18th century on the remains of a former castle.
Alessandro Turchi was an Italian painter of the early Baroque, born and active mainly in Verona, and moving late in life to Rome. He also went by the name Alessandro Veronese or the nickname L'Orbetto. His style has been described as soft and Caravaggesque at the same time.
Giovanni Volpato (1735–1803) was an Italian engraver. He was also an excavator, dealer in antiquities and manufacturer of biscuit porcelain figurines.
The Galleria nazionale di Parma is an art gallery in Parma, northern Italy.
The Mystic Marriage of Saint Catherine is a painting by Correggio dating about the mid-1520s currently held and exhibited at the Louvre in Paris, France.
The San Sebastiano Madonna is an oil on canvas painting by Correggio, dating to around 1524 and now in the Gemäldegalerie Alte Meister in Dresden. It measures 265 by 161 cm.
La Zingarella is a 49 x 37 cm oil-on-panel painting executed ca. 1516–17 by the Italian Renaissance painter Correggio. It shows the Rest on the Flight into Egypt, although it omits the figure of Saint Joseph. It is now in the Museo Nazionale di Capodimonte in Naples.
Saint Joseph and a Devotee is a 1529 tempera on canvas painting on two panels by Correggio, an attribution first proven in the modern era by Ferdinando Bologna in 1957. The panels are mentioned in the 1680 inventories of the Palazzo del Giardino in Parma as a work by Correggio. It is also recorded as such in Giacomo Barri's Viaggio pittoresco, published in 1671. Until the end of the 18th century it featured in Farnese inventories as a work by Corregio. It was probably moved to Naples with the rest of the Farnese collection in 1734 and is now in the National Museum of Capodimonte there.
Pietà is a c. 1600 oil on canvas painting by Annibale Carracci, the earliest surviving work by him on the subject, which was commissioned by Odoardo Farnese. It moved from Rome to Parma to Naples as part of the Farnese collection and is now in the National Museum of Capodimonte in Naples. It is one of many 16th century Bolognese paintings dedicated to the theme of the Pietà, and it is counted among Carracci's masterpieces.
Christ in Glory with Saints and Odoardo Farnese or 'Christ in Glory with Odoardo Farnese and Saints Peter, John the Evangelist, Mary Magdalene, Hermenegild and Edward is a painting by Annibale Carracci. Placed in the Eremo di Camldoli either early in its life or straight after its creation, at the end of the 17th century Ferdinando II de' Medici moved it to the Galleria Palatina in Florence, where it still hangs.
Christ and the Samaritan Woman or The Woman at the Well is a 1593-1594 oil on canvas painting by Annibale Carracci, painted as part of the same scheme as the Palazzo Sampieri frescoes. Several years later he also produced a much smaller autograph copy with variations, now in the Museum of Fine Arts, Budapest.
The Death of Saint Francis is the probable subject of two lost paintings by Annibale Carracci, both possibly dating to 1597-1598. One is known solely through a print and the other through a series of painted copies.
Saint Margaret of Antioch is a 1599 oil on canvas painting by Annibale Carracci, showing Margaret of Antioch. It hangs in Santa Caterina dei Funari church in Rome.
The Sanvitale Madonna and Child is a 1524 fragment of a lunette fresco by Parmigianino at the Palazzetto Eucherio Sanvitale in Parma. It is heavily influenced by Correggio, particularly quoting his Madonna of the Stairs. It dates to just before Parmigianino set off for Rome in 1525, particularly by comparing it with his other works from that period such as his Diana and Actaeon frescoes at Rocca di Fontanellato. Preparatory drawings for the work survive in the British Museum's Department of Prints and Drawings, the Cabinet des Dessins at the Louvre and a private collection.
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