COPPERPLATE ENGRAVING – “MAGDALEN” also known as “THE READING MAGDALEN” from the original painting by Antonio Allegri Correggio, and engraved by Knolle, and published in the mid 1800’s.  The means by which a copperplate is engraved gives it more detail and depth to the picture.  Copperplate engravings are seen as the most perfect means of reproducing a painting or other forms of visual art, thus giving it the most artistic value of any form of engraving.  This engraving is in very good condition.  The actual engraving measures 10 ¼” x 7”, and is matted to 16” x 20” for easy framing. 

       With the exception of Parma there is no place, where the bright and radiant world, as represented in Correggio’s pictures, shows to greater advantage than in Dresden.  The pictures of his master alone would make the Dresden Gallery one of the first in the world.  A gem of this treasure is the picture of the repentant Magdalen.

      The question, whether there was only one Mary Magdalen or many, and which of them was the penitent one, may be left to the settled by theologians, who have already had so many discussions on this subject.  There are several legends, which seem to have been condensed at last into that of Magdalen, who is said to have ended her life, being shut up in a cave, to do penance for the sins of her past life.  The fair penitent has often been represented by painters when they no longer kept strictly within the bounds of the types of sacred history, such as prevailed in the middle ages.  This subject was particularly calculated to fascinate a painter such as Correggio, who, regardless of the dogmas of the church, looked on art merely as a means of representing life, with as many sensual charms as he could possibly devise, and who treated his subjects merely as a mould, in which to cast his artistic ideas.  Correggio has treated this subject repeatedly, but most successfully in the picture belonging to the Dresden Gallery.

     The picture represents a lovely spot among the green trees of the forest, with springs running through it, and surrounded by rocky walls where the repentant Magdalen has retired.  With a blue drapery thrown over her full, luxurious form she is stretched out on a bed of moss.  Sunbeams, steeling through a vault of green leaves, are shedding their magic light over her, kissing the lovely face of the beautiful woman, rapt in delightful dreams; and there is nothing that reminds us of repentant sinner but the alabaster box of ointment, mentioned in biblical tradition in connection with Magdalen, unless the light, reflected by the leaves of the book which she holds in her hand, be considered as an indication of the comfort which the sinner receives from the page of holy writ; nothing else indicates repentance or self-denial.  The whole figure reminds us rather of a dryad, such as was conceived by heathen mythology, an incarnate spirit of the wood, rapt up in her own charms and brooding over the mystery of her own existence.  Every sharpness of outline in our picture is softened down by the magic blending of light and shade, and impression produced by plastic reality make room for gentler emotions, such as are likely to be called forth by music, as our feelings and emotions are apt to be calmed by the sun-woven twilight of the forest, by the reflection of its scattered light gradually and gently fading away, and by the never ceasing murmurings and whisperings of its leaves.

     The picture, painted on copper in the latter years of the artist’s life, has always been looked upon as a masterpiece of art.  It belonged to the collection of Modena, and was bought for the Dresden Gallery at the price of 13,500 ducats.  In 1746 it was transferred to Dresden, where it was very highly prized, as may be inferred from the precious frame, which encloses it.  In the year 1784 this costly frame, set with diamonds, induced a thief to try to steal the picture, but it was soon recovered.  According to a tradition the landscape of the picture is said to have been restored and retouched by Dietrich.  If this is really the case, it is done very cleverly, without in any way spoiling the effects of the picture itself; which, however, cannot be said of the blue drapery that has been repainted, nor of the feet which, as they are now, are very ugly.  The bust, however, has remained unaltered, and has still the full charm of the original; and it is for this reason that the bust alone has been reproduced by our engraving.

                                                                                    By Carl Clauss

IMPORTANT TO NOTE

Antique prints, engravings, and lithographs are printing processes, which use steel, copper, stone or wood blocks or plates to produce a picture on paper.

Most antique prints and engravings, which are seen on the internet today, are bookplates.  Because they are pages from a book, there are multiple copies in existence.  This does not, however, mean that they are "reproductions" that have been printed recently.  Because they were, at some point, part of books, some have been preserved in excellent condition, while others show signs of age, as yellow spots or darkness on the edge of the page from being handled.

Engravings, and lithographs are high quality pieces of art, as it took a highly trained artist many hours of work to produce one.  Although there may be multiple copies still in existence, the date of the item should be stated in the auction, thus giving the buyer an idea of its age.

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