Why Christ is playing with the Magdalene’s Hair
Nicholas Penny: Correggio, 2 July 1998
“... and roundness of flesh with red chalk; and finally half-cancelling and illuminating the forms with white. Even when he drew from a model he made it respond to other figures so that in his finest compositions each component works in rhythm with all the others. Studies by him of life – the world outside the studio – are unknown. There are, it is true, very ... ”