The itinerary <em>TITULORECORRIDO</em> has been successfully created. Now you can add in works from the Collection browser
<em>TITULOOBRA</em> added to <em>TITULORECORRIDO</em> itinerary

Noli me tangere
Correggio (Antonio Allegri)
Close Continuar a ficha de la obra

Correggio (Antonio Allegri)

Correggio, Emilia-Romagna (Italy), 1493 - Correggio, Emilia-Romagna (Italy), 1534

See author's file

Noli me tangere

Ca. 1525. Oil on panel transferred to canvas.
Room 049

Antonio Correggio’s stay in Rome between 1518 and 1519 powerfully affected his late work, which reflects that of late Raphael and the Michelangelo of the Sistine Chapel. Without ever abandoning Andrea Mantegna, and especially Leonardo, Correggio drew on those influences to shape his personal and decisive contribution to the classical style. After returning to his native Parma in 1520 he focused on frescoes and large altarpieces, painting few religious works for private use.

Noli me tangere, c.1525, constitutes one of Correggio’s first mature paintings. It was first mentioned in print in Pietro Lamo’s Graticola di Bologna, c.1560, after the author saw it at the Hercolani house in Bologna, and the painting was still there in 1568 when Giorgio Vasari admiringly mentioned it in the second edition of his Le Vite de’ più eccellenti pittori, scultori, ed architettori (Lives of the Most Eminent Painters, Sculptors, and Architects): The work is painted with such delicacy that it defies belief. There is no documentation of the painting having been commissioned by a member of the Hercolani family, but it is most likely that it was Vincenzo Hercolani (1500-57). The identity of the painting’s first owner is important, as it provides evidence that it was made for a private chapel, which its formal characteristics seem to indicate.

Correggio was very aware of where his works were to be hung, so the refined landscape and careful rendering of the farm implements -a magnificent fragment of still life avant la lettre- imply that he knew viewers would be close enough to see them. Vincenzo Hercolani was a member of the Brotherhood of Buon Gesù, whose bylaws urged its members to hang religious images in their homes. It also encouraged meditation exercises focused on Christ’s Passion. The apparently straightforward composition is extraordinarily balanced. Along a vertical axis running from Mary Magdalene’s right foot to Christ’s left hand, the characters stand out against a beautiful landscape tenuously lit by the dawn. Mary Magdalene wears the yellow garb characteristic of prostitutes and appears deeply moved by the meeting. Her emotional instability contrasts with Christ’s serene, tranquil figure, which Correggio depicts with a few iconographic peculiarities, including a blue robe in contrast with the white or pink robes traditionally employed in illustrations of this passage from the Bible (John 20:1-19). Correggio’s colour choice alludes to the sky or to the absence of stigmata from Christ’s Passion, symbolising his perfect state after the Resurrection.

The admirable balance attained here was not effortless; X-rays show that Correggio tried two different positions for Mary Magdalene before choosing the third and final, highest position of all. Her dress is practically identical to the one worn by Saint Cecilia in Raphael’s homonymous depiction in Bologna, indicating that Correggio must have studied the latter. He may have done so at the suggestion of Vincenzo Ercolani, who also owned the Vision of Ezekiel, c.1518, by Raphael now at the Galleria Palatina di Palazzo Pitti, Florence, as well as works by Francesco Francia and Lorenzo Costa. Vicenzo must have contacted Correggio through Costa’s close ties to Veronica Gambara, a lady from the painter’s home town and one of his important patrons.

From the Hercolani family, Noli me tangere passed to Cardinal Pietro Aldobrandini in 1598, before entering the collection of Cardinal Ludovico Ludovisi in 1621. In 1632 it was inherited by Prince Lodovico Ludovisi, who gave it to King Philip IV as payment for the Piombino Estate. The work arrived in Spain in 1643 and hung in El Escorial until it entered the Museo del Prado in 1839.

Falomir Faus, M., Antonio Correggio 'Noli me tangere' En:. Italian masterpieces from Spain's royal court, Museo del Prado, National Gallery of Victoria Thames & Hudson, 2014, p.52

Technical data

Related artworks

Museo del Prado, sala de la reina Isabel II
Gelatin / Collodion on photographic paper, Ca. 1899
Laurent y Minier, Juan
Noli me tangere
Phototype on card, 1900 - 1905
Hauser y Menet
Inventory number
Correggio (Antonio Allegri)
Noli me tangere
Ca. 1525
Panel transferred to canvas
Height: 130 cm; Width: 103 cm
Royal Collection (Niccolò Ludovisi, príncipe de Piombino; regalada a Felipe IV, 1644; Real Monasterio de San Lorenzo de El Escorial, Madrid, sacristía, 1657; Monasterio de El Escorial, sacristía principal, h. 1698; Monasterio de El Escorial, sacristía, 1788; Real Academia de Bellas Artes de San Fernando, Madrid, 1813; Monsterio de El Escorial, Sala de Capítulo Prioral, 1839).

Bibliography +

Ponz, Antonio, Viage de España. Vol. I, Joachin Ibarra, Madrid, 1774, pp. 76.

Madrazo, Pedro de, Viaje artístico de tres siglos por las colecciones de cuadro, Daniel Cortezo y Cª, Barcelona, 1884, pp. 290.

Ricketts, C.S., The Prado and It's Masterpieces, Archibald Constable and Company, Westminster, 1903, pp. 116.

Ricci, Corrado, Antonio Allegri Da Correggio. His Life, His Friends, And His, William Heinemann, Londres, 1906, pp. 246 (en la ed. alemana).

Gronau, Georg, Correggio: des meisters gemälde in 196 abbildungen, LeipzigDeutsche Verlags-Anstalt, Stuttgart.Berlin., 1907, pp. 90.

Berenson, Bernard, North Italian Painters of the Renaissance, G. P. Putnam's Sons, Nueva York-Londres, 1907, pp. 200.

Reinach, Salomon, Repertoire de Peintures du Moyen Age et de la Renaissance. 1, II, Ernest Leroux, Paris, 1907, pp. 493.

Die Galerien Europas, Verlag Von E. A. Seemann, Leipzig, 1912, pp. 484.

Dayot, Armand, Le Prado de Madrid, I, Editions Pierre Lafitte, Paris, 1914, pp. 15.

Serafini, Alberto, Girolamo Da Carpi. Pittore e Architetto Ferrarese. 1501-1556, [s.n], Roma, 1915, pp. 73.

Conde de Casal, Resplendores de la decadencia, ARTE ESPAÑOL / REVISTA ESPAÑOLA DE ARTE, 1930-31, pp. 32.

Tüngel, Richard, 400 Jahre Kunst, Kultur, und Geschichte im Prado, Schweizer Verlagshaus, Zurich, 1964, pp. lám. 111.

New International Illustrated Encyclopedia of Art, Greystone Press, Nueva York-Toronto, 1970, pp. ?.

Andrés, Gregorio de, Relación anónima del s. XVII sobre los cuadros del Escorial, Archivo español de arte, 44, 1971, pp. 58.

Salas, Xavier de, Museo del Prado. Catálogo de las pinturas, Museo del Prado, Madrid, 1972, pp. 157.

Quintavalle, Arturo Carlo, La obra pictórica completa de Correggio, Noguer, Barcelona, 1977, pp. nº 42.

Museo Nacional del Prado, Museo del Prado: pintura italiana anterior a 1600, Gredos, Madrid, 1979, pp. 114.

Beck, James, Italian Renaissance Painting, Harper and Row, Nueva York, 1981, pp. 413.

Wethey, Harold, Alonso Cano: pintor, escultor y arquitecto, Alianza Editorial, Madrid, 1983, pp. ?/ lám. 87.

Emiliani, Andrea, Bologna 1584. Gli Esordi Dei Carracci e Gli Affreschi Di Pal, DOCUMENTI DEL TEMPO 4, Nuova Alfa Editoriale, Bolonia, 1984, pp. 28.

Burke, Marcus B., Private Collections of Italian Art in Seventeenth Century Spain, University Microfilm International, Nueva York, 1984, pp. 85.

Museo Nacional del Prado, Catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 166.

Carroggio, Fernando, Historia del Arte, Carroggio S.A., Barcelona, 1985, pp. 145.

Museo Nacional del Prado, Museo del Prado: catálogo de las pinturas, Museo del Prado, Madrid, 1985, pp. 166.

La Maddalena tra Sacro e Profano: [da Giotto a De Chirico], Arnoldo Mondadori Editori, Milan, 1986, pp. 136-137.

Brown, Jonathan, Velázquez: pintor y cortesano, Alianza Editorial, Madrid, 1986, pp. 236 / lám. 283.

Dantraique, Pierre, La Peinture Venitienne, Ides et Calendes, Neuchatel, 1989, pp. 122.

Museo Nacional del Prado, Museo del Prado. Inventario general de pinturas (I) La Colección Real, Museo del Prado, Espasa Calpe, Madrid, 1990.

Karge, Henrik, Vision Oder Wirklichkeit. Die Spanische Malerei Der Neuzeit, Klinkhardt & Biermann, Munich, 1991, pp. 148.

Buendía, José Rogelio, El Prado. Colecciones de Pintura, Lunwerg Editores, Barcelona, 1994, pp. 252.

Bettagno, Alessandro, El Museo del Prado, Fonds Mercator Fundación Amigos del Museo del Prado, Madrid, 1996, pp. 261.

Ekserdjian, David, Correggio, Yale University Press, New Haven, London, 1997, pp. 156-159 f.157.

Museo Nacional del Prado, Pintura italiana del Renacimiento: guía, Museo del Prado, Aldeasa, Madrid, 1999, pp. 62.

Salort Pons, Salvador, Velázquez en Italia, Fundación de Apoyo a la Historia del Arte Hispánico, Madrid, 2002, pp. 217.

Monducci, Elio, Il Correggio : la Vita e Le Opere Nelle Fonti Documentarie, Silvana Editoriale, Milano, 2004, pp. 85-87.

Spagnolo, Maddalena, La «dulzura del pinzel»: Correggio nella cultura artística spagnola fra XVI e XVII secolo,, Polittico, 3, Pisa, 2004, pp. 91-123 (92-93).

Spagnolo, Maddalena, Correggio: Geografia e Storia Della Fortuna (1528-1657), Silvana Editoriale, Milano, 2005, pp. 51, 219.

Enciclopedia del Museo del Prado, V, T.F. Editores: Fundación Amigos, Madrid, 2006, pp. 1630.

Adani, Giuseppe, Correggio : pittore universale (1489-1534) : monografia espl..., Silvana Editoriale, Milán, 2007, pp. 86.

Spagnolo, Maddalena, Noli me tangere, En: Anna Coliva (comisaria), Correggio e l’antico, Federico Motta, Milán, 2008, pp. 116-117.

Da Caravaggio ai Caravaggeschi, Cam editrice, 2009, pp. 289,328/531.

Bouza, Fernando, De Rafael a Ribera y de Nápoles a Madrid. Nuevos inventarios de la colección Medina de las Torres-Stigliano (1641-1656), Boletín del Museo del Prado, XXVII, 2009, pp. 44-71.

Sánchez del Peral y López, Juan Ramón, Acerca de algunos dibujos de Michel-Ange Houasse en el Legado Pedro Beroqui al Museo del Prado, Boletín del Museo del Prado, XXVIII, 2010, pp. 82-92.

Sanz Salazar, J, Denis Calvaert y el Monasterio boloñés de Sanmichele in Bosco: una pintura redescubierta., Archivo español de arte, 83, 2010, pp. 178-187.

Saracino, Francesco, Cristo a Napoli. Pittura e cristologia nel Seicento, Grimaldi & C., 2012, pp. 225.

Falomir Faus, M., Antonio Correggio 'Noli me tangere' En:, Italian masterpieces from Spain's royal court, Museo del Prado, National Gallery of Victoria Thames & Hudson, 2014, pp. 52.

Arasse, Daniel, 'L ' apparition à Marie Madeleine. Noli me tangere' En: Désir sacré et profane: le corps dans la peinture de la Renaissance, Editions du Regard, 2015, pp. 222.

Ekserdjian, David, 'A.A.Correggio. Noli me tangere' En:, Correggio and Parmigianino. Art in Parma during the Sixteenth century, Silvana Editoriale,, 2016, pp. 190-191 n.13.

Ekserdjian, David, 'Correggio and Parmigianino. Art of the Sixteenth century in Parma' En:, Correggio and Parmigianino. Art in Parma during the Sixteenth century, Silvana Editoriale,, 2016, pp. 12-35 [15].

Adani, Giuseppe, Correggio: il genio, le opere, Silvana Editoriale,, Milán, 2020, pp. 131-132.

Adani, Giuseppe., Correggio: il genio, le opere: Antonio Allegri (1489-1534)..., Silvana,, 2020, pp. 131-132 nº 100.

Ekserdjian, David, Sui disegni di Pordenone e Correggio, En: Anna Còccioli Mastroviti y Antonella Gigli (coords.), Forza, terribilità e rilievo. Il Pordenone a Piacenza e dintorni, Fondazione di Piacenza e Vigevano, Piacenza, 2020, pp. 293-299 (296).

Other inventories +

Inv. Real Museo, 1857. Núm. 809.
Correggio (Antonio Allegri, llamado el) / 809. Jesus y la Magdalena. / Buscando la Magdalena el cuerpo del Salvador, se le aparece este en figura de hortelano. Representa el acto en que ella reconoce a Jesus, el cual la manda que no le toque. Fondo: pais lleno de vegetacion. (E.) / Alto 4 pies, 8 pulg; ancho 3 pies, 8 pulg.

Catálogo Museo del Prado, 1854-1858. Núm. 809.

Catálogo Museo del Prado, 1872-1907. Núm. 132.

Inscriptions +

Inscribed in orange. Front, lower left corner

La Magdalena á los pies de Jesu - Cristo / Este cuadro procede del Escorial y esta / ba en la Sala Prioral de Capitulo, en la / banda frente á las ventanas. / Antonio Correggio
Handwritten label in black ink.

Exhibitions +

06.06.2020 - 25.07.2021

Correggio y Parmigianino. Arte a Parma nel Cinquecento
11.03.2016 - 26.06.2016

Touching the Prado
20.01.2015 - 18.10.2015

Italian Masterpieces from Spain's Royal Court. Museo Nacional del Prado
16.05.2014 - 31.08.2014

Correggio e l'antico
20.05.2008 - 14.09.2008

Location +

Room 049 (On Display)

Update date: 21-01-2023 | Registry created on 02-12-2015

Other works by Correggio (Antonio Allegri)

Print on demand

Print artworks available in our catalogue in high quality and your preferred size and finish.

Image archive

Request artworks available in our catalogue in digital format.