The Mystic Marriage of Saint Catherine

Now identified as an early work by Correggio made in emulation of the extreme chiaroscuro effects championed by Leonardo’s school, this painting’s attribution clearly baffled Charles I and his Surveyor. As a result, Van der Doort recorded it as “said to be Luini or one of the school of Leonardo”. It came from the Mantua sale.

George Scharf wrote 'a picture corresponding to this, with the CR crown on the back, was in the collection of Prince Wenzel Anton Kaunitz Ritberg at Vienna, where it was ascribed to School of Raphael or Giulio Romano. It was sold after Kaunitz's death in 1826 to Councillor Val Andrea von Adamovies, when it was attributed to Antonio da Correggio, an attribution since supported by Bode, Friedlander etc. [...] the virgin sits in the middle with the child on her lap who places a [...] St Catherine kneels towards them at the spectator's right [...] John  [...] St Elizabeth [...] Joseph [...] 156 x 123'.

Van der Doort c.1639

Said to be Luini or one of the school of Leonardo da Vinci

Madonna, Christ, Joseph, Anne and Catherine, 6 less-than-life-size, full-length figures

Walpole Society reference (1960): 
WS 21, № 4
Measurements (Van der Doort): 
4ft 5in x 4ft (134.6 x 121.9)
carved and gilded frame
Mantua Piece
Room description extended: 
Also called the Square Table Room
Original Manuscript page number: 
MS. Ash. 1514, f. 28
Other inventories: 
Mantua 1627, no. 1327 (240 lire)
Identification certainty: 
Sale Inventory c.1649-51

Gaudenzio Ferrari