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I looked again at Sal, a twenty-year-old with a large, creased forehead. He had studied computer engineering first at CalTech, and now at Stony Brook. He also studied guitar and drama. He cradled the eggplant parmigiano hero lovingly in his hands and closed his eyes before each bite, as if bracing for the next dose of ecstasy. "Observe the maestro chow hound," Atmananda announced. We laughed.
There is a small engraving by Bonasoni, in a series of the Life of the Virgin, apparently after Parmigiano, in which the apostles bear her on their shoulders over rocky ground, and appear to be descending into the Valley of Jehoshaphat: underneath are these lines: "Portan gli uomini santi in su le spalle Al Sepolcro il corpo di Maria Di Josaphat nella famosa valle."
After this, Caraglio engraved for Francesco Parmigiano a plate of the Marriage of Our Lady, and other works by the same master; and then another plate for Tiziano Vecelli, which was very beautiful, of a Nativity that Tiziano had formerly painted.
I know nothing more disgusting in art than the long-limbed, studied, inflated Madonnas, looking grand with all their might, of this period; luckily they have fallen into such disrepute that we seldom see them. The "Madonna dell' lungo Collo" of Parmigiano might be cited as a favourable example of this mistaken and wholly artificial grace.
Another similar picture he caused to be executed by Ippolito Costa of Mantua, in which is S. Agata with the hands bound and between two soldiers, who are cutting and tearing away her breasts. Battista d'Agnolo del Moro of Verona painted for the same Duomo, as has been told, the altar-piece that is on the altar of S. Maria Maddalena, and Girolamo Parmigiano that of S. Tecla.
In a composition by Parmigiano, Christ is standing at his mother's knee; Elizabeth presents St. John the Baptist; the other little St. John kneels on a cushion. Behind the Virgin are St. Joachim and St. Anna; and behind Elizabeth, Zebedee and Mary Salomé, the parents of St. John the Evangelist. In the centre, Joseph looks on with folded hands.
The monastic saints or mitred dignitaries, introduced into familiar and irreverent communion with the sacred and ideal personages, in spite of the grand scenery, strike us as at once prosaic and fantastic "we marvel how they got there." Parmigiano, when he fled from the sack of Rome in 1527, painted at Bologna, for the nuns of Santa Margherita, an altar-piece which has been greatly celebrated.
But the most beautiful were executed later by Domenico Beccafumi of Siena, after the death of Parmigiano, as will be related at greater length in the Life of Domenico.
In spite of opposition this academy became more and more popular, and before long all the other schools of art in Bologna were closed. The decorum and well-grounded study of Tibaldi, the invention of the learned Primaticcio, and a little of the grace of Parmigiano." This "patchwork ideal," as Kugler calls it, was, however, but a transition step in the history of the Carracci and their art.
While painting was in the ascendant, Raphael could take the best of Perugino and discard the worst; in its decadence Parmigiano reproduces the affectations of Correggio, and Bernini carries the exaggerations of Michelangelo to absurdity. All arts describe a parabola.
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