Italian school of the first half of the seventeenth century. School of "CORREGGIO" Antonio Allegri (Italy, 1494 - 1534). "Madonna and child with St. Jerome and Mary Magdalene". Oil on canvas. Re-tinted. With faults in the paint and repainting. Size: 207 x 137 cm; 209.5 x 141 cm (frame). This work faithfully reproduces the homonymous canvas realized by Correggio around 1530, today conserved in the Museo Nazionale of Parma. Faithful to the Italian's mannerist style, it is a tremendously complete and interesting composition, the fruit of his mature period. The treatment of the faces shows the admiration that Correggio felt for Leonardo Da Vinci, as well as the grandiloquence that accompanied him throughout his artistic career. Other aspects, such as the warm light that bathes the entire scene, the naturalness of the figures or the softness of their clothing, complete the contextualization of this work in Correggio's school. In this work Correggio represents the story narrated in the "Golden Legend" of Santiago de la Voragine, according to which Catherine had in a dream the vision of the Virgin with the Child in her arms, who refused to take her as his wife because she was not beautiful enough. She interpreted the dream and withdrew to the desert to learn the precepts of the Christian faith with a hermit, being baptized. In a new dream, Jesus accepted her beauty and made her his heavenly bride by placing a ring on her finger. This is the moment chosen by Correggio in his work, incorporating into the scene St. Sebastian, who contemplates from the background. It is precisely the figure of the saint that serves as a link with the background, where his martyrdom is represented; the saint appears tied to a tree, receiving the arrows of the Roman soldiers. The Italian master thus emphasizes the narrative. The characters, on the other hand, show the characteristic sweetness of Correggio's style, and their gestures are highlighted by the use of powerful lighting, which creates chiaroscuro effects derived from Leonardo's influence. The smile of the saint and the tender gaze of the Child towards the finger of the saint, two key points of the composition, are also noteworthy. Of special importance is also the delicate chromatic work, enhanced by an atmospheric effect that refers to the Venetian school.