Correggio by Estelle M. Hurll

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Title& Correggio
' Collection (f )ifteen Pictures 'nd ' Portrait (f The
Painter *ith +ntroduction 'nd +nter#retation
'uthor& Estelle M. Hurll
+llustrator& Correggio
,elease -ate& 'ugust ./, .001 2EBook 34/4567
%anguage& English
888 9T',T () TH+9 P,(:ECT G;TE<BE,G EB((= C(,,EGG+( 888
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Para Gallery
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Masterpieces of Art
CORREGGIO
A COLLECTION OF FIFTEEN PICTURES
AND A SUPPOSED PORTRAIT OF THE
PAINTER, WITH INTRODUCTION
AND INTERPRETATION
B
ESTELLE M! HURLL
9PEC+'%B+M'GE$www.gutenberg.orgCfilesC4/456C4/456$hCiagesCseal.j#g$
,EP%'CEBME
BOSTON AND NEW OR"
HOUGHTON MIFFLIN COMPAN
T#e Ri$ersi%e Press Ca&'ri%(e
)*+)
C(P",+GHT, 4/04, B" H(;GHT(<, M+))%+< D C(.
PREFACE
To the general #ublic the works of Correggio are uch less failiar than those of
other +talian #ainters. Para lies outside the route of the ordinary tourist, and the
treasures of its gallery and churches are still unsus#ected by any. +t is ho#ed that this
little collection of #ictures ay arouse a new interest in the great Eilian. The selections
are about eEually di!ided between the frescoes of Para and the easel #aintings scattered
through the !arious Euro#ean galleries.
E9TE%%E M. H;,%%.
<ew Bedford, Mass.
-eceber, 4/04.
CONTENTS AND LIST OF PICTURES P'GE' 9u##osed Portrait of
CorreggioF)rontis#iece
GPicture fro Photogra#h of the original #ainting+ntroduction+.(n Correggio@s Character
's an 'rtist!ii++.(n Books of ,eferenceA+++.Historical -irectory of the Pictures of This
CollectionAi+>.(utline Table of the Princi#al E!ents +n Correggio@s %ifeAiii>.%ist of
Conte#orary PaintersAi!+.The Holy <ight F-etailG4Picture fro Carbon Print by Braun,
ClHent D Co.++.9t. Catherine ,eadingIPicture fro Photogra#h by )rancis Ellis and *.
Hayward, %ondon+++.The Marriage of 9t. Catherine46Picture fro Carbon Print by
Braun, ClHent D Co.+>.Ceiling -ecoration in the 9ala -el Pergolato FHall of the >ine
TrellisG4/Picture fro Photogra#h by )ratelli 'linari>.-iana.JPicture fro Photogra#h
by )ratelli 'linari>+.9t. :ohn the E!angelist64Picture fro Photogra#h by )ratelli
'linari>++.9t. :ohn and 9t. 'ugustine6IPicture fro Photogra#h by -. 'nderson>+++.9t.
Matthew and 9t. :eroe56Picture fro Photogra#h by )ratelli 'linari of the #ainting in
water color by P. Toschi+K.The ,est on the ,eturn )ro Egy#t FMadonna -ella
9codellaG5/Picture fro Photogra#h by )ratelli 'linariK.Ecce HooJJPicture fro
Carbon Print by Braun, ClHent D Co.K+.'#ostles and Genii14Picture fro Photogra#h
by )ratelli 'linari of the #ainting in water color by P. ToschiK++.9t. :ohn the
Ba#tist1IPicture fro Photogra#h by )ratelli 'linari of the #ainting in water color by P.
ToschiK+++.Christ '##earing To Mary Magdalene in the Garden F<oli Me
TangereGI6Picture fro Carbon Print by Braun, ClHent D Co.K+>.The Madonna of 9t.
:eroeI/Picture fro Carbon Print by Braun, ClHent D Co.K>.Cu#id 9har#ening His
'rrows F-etail of -anaLGMJPicture fro Photogra#h by )ratelli 'linariK>+.' 9u##osed
Portrait of Correggio/4Pronouncing >ocabulary of Pro#er <aes 'nd )oreign *ords/6
INTRODUCTION
I! ON CORREGGIO,S CHARACTER AS AN ARTIST!
The art of Correggio was !ery justly sued u# by his first biogra#her, >asari.
'fter #ointing out that in the atter of drawing and co#osition the artist would scarcely
ha!e won a re#utation, the writer goes on to say& NTo Correggio belongs the great #raise
of ha!ing attained the highest #oint of #erfection in coloring, whether his works were
eAecuted in oil or in fresco.N +n another #lace he writes, N<o artist has handled the colors
ore effectually than hiself, nor has any #ainted with a ore charing anner or gi!en
a ore #erfect relief to his figures.N Color and chiaroscuro were undoubtedly, as >asari
indicates, the two features of his art in which Correggio achie!ed his highest triu#hs,
and if soe others had eEualled or e!en sur#assed hi in the first #oint, none before hi
had e!er sol!ed so co#letely the #robles of light and shadow.
<ot only did he understand how to throw the se#arate figures of the #icture into
relief, gi!ing the actual bodily eAistence, but he astered as well the dis#osition of light
and shade in the whole co#osition. To Euote Burckhardt, N+n Correggio first,
chiaroscuro becoes essential to the general eA#ression of a #ictorially cobined wholeO
the strea of lights and reflections gi!es eAactly the right eA#ression to the s#ecial
oent in nature.N
The Euality of Correggio@s artistic te#eraent was essentially joyous. 247 The
beings of his creation delight in life and o!eentO their faces are wreathed with
#er#etual siles. Hence childhood and youth were the #ainter@s fa!orite subjects. The
subtleties of character study did not interest hiO and for this reason he failed in
re#resenting old age. He was #erha#s at his best aong that race of s#rites which his own
iagination in!ented, creatures without a sense of res#onsibility, glad erely to be ali!e.
247 Tradition says that the te#eraent of the an hiself was eAactly the
re!erse of that of the artist, being tiid and elancholy.
This te#eraent eA#lains why the artist contented hiself with so little !ariety
in his ty#es. *e need not wonder at the onotony of the Madonna@s face. 9he is ha##y,
and this is all the #ainter reEuired of her #sychically. He took no thought e!en to ake
her beautiful& the tribute he offered her was the technical eAcellence of his art,Pthe
eAEuisite color with which he #ainted flesh and dra#ery, the odulations of light #laying
o!er cheek and neck. *ith hair and hands he took es#ecial #ains, and these features often
redee otherwise unattracti!e figures.
+n his #redilection for ha##y subjects Correggio reinds us of ,a#hael. The two
en shrank eEually fro the #ainful. But where the ;brian@s ideal of ha##iness was
tranEuil and serene, Correggio@s was eAuberant and ecstatic. ,a#hael indeed was alost
Greek in his sense of re#ose, while Correggio had a #assion for otion. NHe di!ines,
knows and #aints the finest o!eents of ner!ous life,N says Burckhardt.
E!en when he sought to #ortray a figure in stable eEuilibriu, he unwittingly
ga!e it a wa!ering #oseO witness the insecurity of :ose#h in the Madonna della 9codella,
and of 9t. :eroe in the Madonna bearing his nae. ;sually he #referred soe
oentary attitude caught in the idst of action. +n this characteristic the #ainter was
allied to Michelangelo, the keynote of whose art is action.
+t is a curious fact that two artists of such o##osed naturesPthe one so light$
hearted, the other burdened with the #ro#het@s s#iritPshould ha!e so uch in coon in
their decorati!e ethods. Both understood the decorati!e !alue of the nude, and found
their su#ree delight in bodily otion. +n a coon Qeal for eA#loiting the anifold
#ossibilities of the huan figure, the two fell into siilar errors of eAaggeration. +n #oint
of design Correggio cannot be co#ared with Michelangelo. He was utterly inca#able of
the swee#ing lines characteristic of the great )lorentine. He seldo achie!ed any success
in the flow of dra#ery, and often his dis#osition of folds is !ery clusy.
+t is interesting to fancy what Correggio@s art ight ha!e been had he been free to
choose his own subjects. %iited, as he was, in his ost i#ortant coissions, to the
well$worn cycle of ecclesiastical thees, he could not work out all the #ossibilities of his
genius. <e!ertheless, he infused into the old thees an altogether new s#irit, the s#irit of
his own indi!iduality. +t is a s#irit which we call distinctly odern, yet it is as old as
#aganis.
'ong the works of the old +talian asters, Correggio@s art is so anoalous that it
has ine!itably called forth detractors. *hat to his adirers is ere childlike sweetness is
condened as Nsentientality,N innocent #layfulness as Nfri!olity,N eAuberance of !itality
as Nsensuality.N Certainly there is nothing didactic in his art. N9#ace and light and otion
were what 'ntonio 'llegri of Correggio ost longed to eA#ress,N2.7 and to these ais he
subordinated all oti!es of s#iritual significance. (ne of his se!erest critics FBurckhardtG
has conceded that Nhe is the first to re#resent entirely and co#letely the reality of
genuine nature.N He, then, who is a lo!er of genuine nature in her ost subtle beauties of
Ns#ace and light and otion,N cannot fail to delight in Correggio.
2.7 E. H. Blashfield in +talian Cities.
II! ON BOO"S OF REFERENCE!
The first biogra#her of Correggio was >asari, in whose N%i!es of the Painters,
9cul#tors, and 'rchitectsN is included a brief account of this #ainter. The student should
read this work in the last edition annotated by E. H. and E. *. Blashfield and '. '.
Ho#kins. Passing o!er the studies of the inter!ening critics, :ulius Meyer@s biogra#hy
ay be entioned neAt, as an authoritati!e work, #ractically alone in the field for soe
twenty$fi!e years. This was translated fro the Geran by M. C. Heaton, and #ublished
in %ondon in 4MI1. )inally, the recent biogra#hy by 9ignor Corrado ,icci Ftranslated
fro the +talian by )lorence 9ionds, and #ublished in 4M/1G ay be considered
alost definiti!e. +t is issued in a single large !olue, #rofusely illustrated. The author is
the director of the galleries of Para, and has had e!ery o##ortunity for the study of
Correggio@s works and the eAaination of docuents bearing u#on his life.
General handbooks of +talian art gi!ing sketches of Correggio@s life and work are
=ugler@s NHandbook of the +talian 9chools,N re!ised by '. H. %ayard, and Mrs. :aeson@s
NEarly +talian Painters,N re!ised by Estelle M. Hurll.
)or a critical estiate of the art of Correggio a cha#ter in Burckhardt@s NCiceroneN
is interesting reading, but the book is out of #rint and a!ailable only in large libraries. +n
N+talian Cities,N by E. H. and E. *. Blashfield, a delightful cha#ter on Para describes
Correggio@s works and analyQes his art ethods. Morelli@s N+talian PaintersN contains in
!arious #laces soe eAceedingly i#ortant contributions to the criticis of Correggio@s
works. The author@s re#udiation of the authenticity of the ,eading Magdalen of the
-resden Gallery has been acce#ted by all subseEuent writers.
Coents on Correggio are found in 9yonds@s !olue on NThe )ine 'rtsN in
the series NThe ,enaissance in +taly,N and are also scattered through the #ages of ,uskin@s
NModern PaintersN and HaQlitt@s NEssays on the )ine 'rts.N The !olue on Correggio in
the series NGreat Masters in Painting and 9cul#tureN is !aluable chiefly for a co#lete list
of Correggio@s works. The teAt is based on ,icci.267
267 's this book goes to #ress Bernard Berenson@s NThe 9tudy and Criticis of
+talian 'rtN akes its a##earance. ' #ortion of it is de!oted to the study of Correggio.
III! HISTORICAL DIRECTOR OF THE PICTURES OF THIS COLLECTION!
Portrait frontis#iece. )ro a #hotogra#h of an alleged #ortrait of Correggio in the
Para Gallery.
4. The Holy <ight.F %a <otte.G F-etail.G Painted at the order of 'lberto Pratoneri
for the altar of his cha#el in the church of 9. Pros#ero, ,eggio. 'greeent signed
(ctober 40, 4J... 9tolen fro the church May, 4150, and taken to Modena. <ow in the
-resden Gallery. 9iQe of whole #icture& M ft. J in. by 1 ft. . in.
.. 9t. Catherine ,eading. Conjectural date, 4J.1$4J.M. +n Ha#ton Court Gallery.
9iQe& . ft. 4 in. by 4 ft. M in.
6. The Marriage of 9t. Catherine. -ate, according to Meyer, 4J4I$4J4/O according
to ,icci, after 4J... Painted for the GrillenQoni faily of Modena. 'fter se!eral transfers
it cae into the #ossession of Cardinal MaQarin, fro whose heirs it was acEuired for
%ouis K+>.@s collection and hence becae a #eranent #ossession of the %ou!re Gallery,
Paris. 9iQe& 6 ft. J$4?6 in. by 6 ft. 5 in.
5 and J. Ceiling -ecoration, and -iana, in the 9ala del Pergolata, Con!ent of 9.
Paolo, Para. )rescoes #ainted in 4J4M.
1, I, and M. 9t. :ohn the E!angelist, 9t. :ohn and 9t. 'ugustine, 9t. Mark and 9t.
:eroe. )rescoes in the church of 9. Gio!anni E!angelista, Para. Painted 4J.0$4J.J.
/. The ,est on the ,eturn fro Egy#t. F %a Madonna della 9codella.G 'ccording
to Pungileoni #ainted 4J.I$4J.MO according to ,icci, 4J./$4J60. The frae containing
the #icture is su##osed to ha!e been designed by Correggio hiself. +t bears the date
4J60, when the #icture was #laced in the church of 9. 9e#olcro, Para. Taken as )rench
booty in 4I/1, but returned to Para in 4M41. <ow in the Para Gallery. 9iQe& I ft. 6 in.
by 5 ft. 1 in.
40. Ecce Hoo. 'ccording to ,icci, #ainted during a !isit to Correggio, 4J.4$
4J..O #robably first belonged to the Counts Prati, of Para. +n the se!enteenth century
there were three #ictures of the subject in +taly claiing to be the original. This #icture
was forerly in the Colonna failyO now in the <ational Gallery, %ondon. 9iQe& 6 ft. .$
4?. in. by . ft. I$4?. in.
44 and 4.. '#ostles and Genii, and 9t. :ohn the Ba#tist. )rescoes in the Cathedral
of Para. Painted 4J.5$4J60.
46. Christ a##earing to Mary Magdalene in the Garden. F <oli e tangere.G
'ssigned by ,icci to 4J.5$4J.1. -escribed by >asari as the #ro#erty of the Ercolani
faily of Bologna. Passing fro one owner to another, it was finally #resented to Phili#
+>. of 9#ain, and is now in the Prado Gallery, Madrid. 9iQe& 4 ft. 6$4?6 in. by 4 ft. 1$4?.
in.
45. The Madonna of 9t. :eroe. F +l Giorno.G (rdered in 4J.6 by -onna Briseide
Colla, for the church of 9. 'ntonio, Para. Painted 4J.I$4J.M, according to ,icci. 'fter
the destruction of this church it was #laced in the Cathedral for safety. 9eiQed by
<a#oleon in 4I/1. )inally returned to Para, and now in the Para Gallery. 9iQe& 5 ft. M
in. by 1 ft. 40 in.
4J. Cu#id shar#ening his 'rrow. F-etail of -anaL.G (rdered F4J60$4J66G by
)ederigo ++., -uke of Mantua, as a gift for the E#eror Charles >. 'fter #assing through
any hands it cae in 4M.6 into the #ossession of the Borghese faily, and is now in the
Borghese Gallery, ,oe. 9iQe of whole #icture, J ft. 5 in. by 1 ft. J in.
I-! OUTLINE TABLE OF THE PRINCIPAL E-ENTS IN CORREGGIO,S LIFE!
Co#iled fro ,icci@s Correggio, to which the references to #ages a##ly.
45/5. 'ntonio 'llegri born at Correggio.
4J44$4J46. Probably in Mantua F#. 1/G.
4J4J. Madonna of 9t. )rancis F#. /5G.
4J4M. +n Para eAecuting the frescoes of 9an Paolo, '#ril$-eceber F#. 4J.G.
4J.0. +n!itation to Para fro the Benedictines F#. 4J6G. Marriage with Girolaa
Merlini F#. 4MJG.
4J.0$4J.J. 't work on frescoes of 9. Gio!anni E!angelista, Para, with
interru#tions as noted below F##. 4M/$4/JG.
:uly, 4J.4$9#ring, 4J... +n Correggio F##. 4/5, 4/JG, and #robable eAecution of
the Ecce Hoo, Christ in Garden, and <oli e tangere F#. ..1G.
4J.4. Birth of son Po#onio, 9e#teber 6 F#. 4MJG.
4J... >isit to ,eggio and coission for the <ati!ity F%a <otteG (ctober F##.
4/J, ./5G. Coission for frescoes of Para Cathedral, <o!eber F#. .J0G.
4J.6. >isit in Correggio F#. 4/JG. (rder for Madonna of 9t. :eroe F#. .IMG.
4J.5. %ast #ayent for frescoes of 9. Gio!anni F#. 4/0G. Birth of daughter
)rancesca %etiQia, -eceber 1 F#. 4MJG.
4J.5$4J60. *ork on frescoes of the Para Cathedral, interru#ted by !isits to
Correggio, as noted below F#. .I6G.
4J.J. >isits to Correggio in )ebruary and 'ugust F#. .I5G. Madonna of 9t.
9ebastian #ainted for Confraternity of 9t. 9ebastian at Modena F#. .IJG.
4J.1. Birth of daughter Caterina %ucreQia F#. 4MJG.
4J.I. >isits in Correggio F#. .I5G.
Circa 4J.M. Birth of daughter 'nna Geria F#. 4MJG.
4J.M. >isit in Correggio in suer F#. .I5G.
4J./. -eath of wife F#. 4MJG.
4J60$4J65. +n Correggio F#. 60IG. Mythological #ictures for )ederigo GonQaga
F#. 644G.
4J65. -eath of 'llegri, March J F#. 6.1G.
-! LIST OF CONTEMPORAR ITALIAN PAINTERS!
>incenQo Catena, >enetian, 45I0$4J6..
Michelangelo, )lorentine, 45IJ$4J15.
%orenQo %otto, >enetian, circa 45I1$4JJJ.
BaQQi F+l 9odoaG, 9ienese, 45II$4J5/.
Giorgione, >enetian, 45II$4J40.
Titian, >enetian, 45II$4JI1.
Pala >ecchio, >enetian, 45M0$4J.M.
%otto, >enetian, 45M0$4JJM.
,a#hael, ;brian, 45M6$4J.0.
Pordenone, >enetian, 45M5$4J6/.
Bagnaca!allo, Bolognese, 45M5$4J5..
GaudenQio )errari, Milanese, 45M5$4J5/.
9ebastian del Piobo, >enetian, 45MJ$4J5I.
'ndrea del 9arto, )lorentine, 45M1$4J64.
BonifaQio >eneQiano, >enetian, circa 45/0$4J50.
Cia da Conegliano, >enetian, 45/6$4J4I.
Pontoro, )lorentine, 45/6$4JJM.
Moretto, Brescian, 4J00$4J5I.
BronQino, )lorentine, 4J0.$4JI..
Basaiti, >enetian, first record, 4J06$last record, 4J.0.
I
THE HOL NIGHT .LA NOTTE/ .Detai0/
+n the northern #art of +taly is the little town of Correggio, which ga!e its nae to
the #ainter whose works we are to study. His real nae was 'ntonio 'llegri, but in the
siAteenth century a an would often be called by a nicknae referring to soe
#eculiarity, or to his birth#lace. *hen 'llegri went to Para he was known as 'ntonio da
Correggio, that is, 'ntonio fro Correggio, and the nae was then shortened to
Correggio.
' large #art of Correggio@s work was ural decoration, #ainted on the surface of
the #lastered wall. Besides such frescoes he #ainted any se#arate #ictures, ostly of
sacred subjects to be hung o!er the altars of churches. The choice of subjects was uch
ore liited in his day than now, and, with the eAce#tion of a few ythological
#aintings, all Correggio@s thees were religious. The subject ost often called for was
that of the Madonna and Child. Madonna is the word, eaning literally My %ady, used by
the +talians when s#eaking of Mary, the other of :esus. The Madonna and Child is then
a #icture of the other Mary holding the Christ$child.
(ur illustration is fro such a #icture called N%a <otte,N the +talian for The <ight.
The night eant by the title is that on which :esus was born in Bethlehe of :udaea. +t
was at a tie known in history as the 'ugustan 'ge, when ,oe was the great world$
#ower. :udaea was only an obscure #ro!ince of the !ast ,oan E#ire, but here was the
origin of the influence which was to sha#e later history. The coing of :esus brought a
new force into the world.
The story of his infancy has been ade failiar by the four E!angelists. He was
born in surroundings which, in ,oan eyes, were fit only for sla!es. Mary and :ose#h
had coe u# fro their own hoe to Bethlehe to #ay the taAes eAacted at ,oe. The
town was full of #eo#le on the sae errand, and Nthere was no roo for the in the inn.N
9o it cae about that the new$born babe was wra##ed in swaddling clothes and laid in a
anger used for feeding cattle.
*hile he lay in this strange cradle his birth was ade known by a !ision of angels
to soe she#herds on the neighboring hillsides. 't once they betook thesel!es joyfully
to Bethlehe, the first to do honor to the new$born king. These hoely !isitors are
gathered about the anger in Correggio@s #icture. The dark night is without, but a
daQQling white light shines fro the Holy Child.
hCiagesCiageB006B4.j#g$,EP%'CEBME THE H(%" <+GHT F-ET'+%G
-resden Gallery
Please click here for a odern color iage
(ur illustration shows only the centre of the #icture, where the other leans o!er
her babe. The little for lies on a bundle of hay, co#letely encircled by her ars. The
bend of her elbow akes a soft #illow for his headO her hands hold hi fast in the snug
nest. *ith brooding tenderness she regards the slee#ing child.
' white cloth is wra##ed loosely about the baby@s bodyPthe swaddling band,
which, when tightly drawn, is to hold the figure straight. The fingers of one hand #ee#
out fro the folds, and one little foot is free. )or the rest we see only the downy to# of
the baby@s head and one #lu# shoulder. The little figure glows lite an incandescent body,
and the other@s face is lighted as if she were bending o!er a fire. +t is a girlish face, for
we are told that Mary was a !ery young other. The cares of life ha!e not yet touched the
sooth brow. +n her ha##iness she siles fondly u#on her new treasure.
*e ha!e no authentic descri#tion of Mary, the other of :esus, but it is #leasant
to try to #icture her in iagination. 's her character was a odel of woanliness, it is
natural to belie!e her face corres#ondingly beautiful. The old asters s#ent their li!es in
seeking an ideal worthy of the subject, and each one concei!ed her according to his own
standards of beauty. Correggio@s chief care was for the hair and hands, which he #ainted,
as we see here, with eAEuisite skill. He was usually less interested in the other features,
and the Madonna of our #icture is eAce#tionally lo!ely aong his works of this kind.
The #icture of %a <otte illustrates !ery strikingly an artistic Euality for which
Correggio is faous. This is chiaroscuro, or the art of light and shadow,Pthe art by
which the objects and figures of a #icture are ade to see en!elo#ed in light and air, as
in the actual world. The contrast between the bright light in the centre and the
surrounding darkness gi!es !i!id reality to the figures. There is also a sybolic eaning
in the lighting of the #icture. Christ is Nthe light of the worldON hence his for is the
source of illuination.
(ur #icture was originally called by the si#le title of The <ati!ity. Then the
+talians, struck by the #ower with which the effect of idnight was #roduced, called it
N%a <otte,N The <ight. *hen it cae to a Geran gallery the Gerans called it N-ie
Heilige <acht,N The Holy <ight. 'n old Geran Christas carol inter#rets it so #erfectly
that it sees as if the author ust ha!e known the #icture. These are the !erses&P
N9ilent nightR Holy <ightR
'll is cal, all is bright
,ound you, !irgin other and childO
Holy infant, so tender and ild,
9lee# in hea!enly #eace,
9lee# in hea!enly #eace.
N9ilent <ightR Holy <ightR
9he#herds Euake at the sight.
Glories strea fro Hea!en afar,
Hea!enly hosts sing alleluia.
Christ the 9a!iour is bornR
Christ the 9a!iour is bornR
N9ilent <ightR Holy <ightR
9on of God, lo!e@s #ure light
,adiant beas fro Thy holy face
*ith the dawn of redeeing grace,
:esus, %ord, at thy birth,
:esus, %ord, at thy birth.N
II
ST! CATHERINE READING
The story of 9t. Catherine is !ery Euaintly told in the old legend.257 9he was the
daughter of Na noble and #rudent king,N naed Costus, Nwho reigned in Cy#rus at the
beginning of the third century,N and Nhad to his wife a Eueen like to hiself in !irtuous
go!ernance.N Though good #eo#le according to their light, they were #agans and
worshi##ers of idols.
257 The life of 9t. Catherine is related in the Golden %egend. 9ee CaAton@s
translation in the Te#le Classics, !olue !ii., #age 4. Mrs. :aeson also gi!es an
outline of the story in 9acred and %egendary 'rt, #. 5J/.
E!en in her babyhood the child Catherine was Nso fair of !isageN that all the
#eo#le rejoiced at her beauty. 't se!en years of age she was sent to school, where Nshe
drank #lenteously of the well of wisdo.N Her father was so delighted with her #recocity
that he had built a tower containing di!ers chabers where she ight #ursue her studies.
9e!en asters were engaged to teach her, the best and Nwisest in conningN that could be
found. 9o ra#id was their #u#il@s #rogress that she soon outstri##ed the in knowledge,
and fro being her asters they becae her disci#les.
*hen the #rincess was fourteen, her father died, lea!ing her heir to his kingdo.
' #arliaent was con!ened, and the young Eueen was crowned with great solenity.
Then arose a coittee of lords and coons, #etitioning her to allow the to seek
soe noble knight or #rince to arry her and defend the kingdo. <ow Catherine had
secretly resol!ed not to arry, but she answered with a wisdo not learned altogether
fro books. 9he agreed to arry if they would bring her a bridegroo #ossessing certain
Eualifications which she knew were i#ossible to fulfil. This silenced the counsellors,
and she continued to reign alone.
+n the course of tie Sueen Catherine becae a Christian and de!oted herself to
works of religion and charity. ;nder her teaching any of her #eo#le were con!erted to
the faith. +t was a ha##y kingdo until the E#eror MaAentius chanced to !isit the royal
city. He was a tyrant who #ersecuted Christians. ;#on his arri!al he ordered #ublic
sacrifices to idols, and all who would not join in the heathen cereony were slain. Then
Catherine went boldly to eet the e#eror and set forth to hi the errors of #aganis.
Though confounded by her eloEuence he was not to be con!inced by the words of a ere
woan. 'ccordingly he suoned fro di!ers #ro!inces fifty asters Nwhich
surounted all ortal en in worldly wisdo.N They were to hold a discussion with the
Eueen and #ut her to confusion. )or all their arguents, howe!er, Catherine had an
answer. 9o co#lete was her !ictory that the entire co#any declared thesel!es
Christians. The angry e#eror caused the all to be burned and cast Catherine into
#rison.
hCiagesCiageB00/B4.j#g$,EP%'CEBME 9T. C'THE,+<E ,E'-+<G
Ha#ton Court Gallery, %ondon
E!en here she continued her good works, con!erting the e#ress and a #rince
who cae to !isit her. ' new torent was then de!ised for her. +ron wheels were ade,
bound with shar# raQors, and she was #laced between these while they were turned in
o##osite directions. N'nd anon as this blessed !irgin was set in this torent, the angel of
the %ord brake the wheels by so great force that it slew four thousand #aynis.N
MaAentius then coanded that she should be beheaded, and 9t. Catherine went
cheerfully to her death.
(ther !irgin artyrs ay ha!e been as good and as beautiful as 9t. Catherine, but
none were so wise. *e know her in our #icture by the book she holds. Eager to acEuire
all the treasures of knowledge, she fiAes her eyes on the #age, absorbed in her occu#ation.
'lready she has read ore than half the thick !olue, siling with Euiet enjoyent as
she reads. There is little in the face to suggest the scholar or the bookwor. *ere this a
odern #icture, we should fancy it a young lady reading her fa!orite #oet. 's it is,
howe!er, we ust belie!e that the book is soe work by Plato or another of the ancient
writers who 9t. Catherine could Euote so readily. *e need not wonder that she does not
knit her brow o!er any difficult #assages. *hat ight be hard for another to gras# is
#erfectly clear to her understanding.
The beautiful hair coiled o!er her head is the only coronet the #rincess wears.
There is no sign of her royalty, and we ay infer that the #icture re#resents her in those
early days of girlhood before the cares of go!ernent were laid on the young shoulders.
's we study the #osition of the figure we see that the left ar rests on the ri of a wheel,
aking a su##ort for the hand holding the book. The wheel is the eble ost
freEuently associated with 9t. Catherine, as the reinder of the tortures inflicted by
MaAentius. The #al branch caught in the fingers of the left hand is the sybol used
alike for all the artyrs. The reference is to that #assage in the book of ,e!elation which
describes the saints standing before the throne Nwith #als in their hands.N 2J7
2J7 ,e!elation !ii. /.
+t is #leasant to belie!e that Correggio took unusual #ains with this #icture of 9t.
Catherine. The story of the lo!ely young #rincess sees to ha!e a##ealed to his
iagination, and he has concei!ed an ideal figure for her character. The eAEuisite o!al of
the face, the delicate features, and the beautiful hair ake this one of the ost attracti!e
faces in his works.
The light falls o!er the right shoulder, casting one side of the face in shadow. The
odulations of light on the chin and neck, and the gradation in the shadow cast by the
book on the hand, show Correggio@s astery of chiaroscuro.
III
THE MARRIAGE OF ST! CATHERINE
't the tie of her coronation, 9t. Catherine knew nothing of the Christian faith,
but she had set for herself an ideal of life she was deterined to carry out. +t was her fir
resol!e not to arry. Her counsellors argued that, as she was endowed with certain
Eualities abo!e all creatures, she ought to arry and transit these gifts to #osterity. The
attributes they enuerated were, first, that she cae of the ost noble blood in the worldO
second, that she was the richest li!ing heiressO third, that she was the wisest, and, fourth,
the ost beautiful of all huan beings.
The young Eueen re#lied that she would arry only one who #ossessed
corres#onding Eualities. NHe ust be,N she said, Nso noble that all en shall do hi
worshi#,N so rich that Nhe #ass all others in riches,N so full of beauty Nthat angels ha!e joy
to behold hiON and finally, he ust be absolutely #ure in character, Nso eek that he can
gladly forgi!e all offences.N N+f ye can find such an one,N she declared, N+ will be his wife
with all ine heart, if he will !ouchsafe to ha!e e.N
(f course all agreed that there ne!er was and ne!er would be a an such as she
described, and the atter was at an end. To Catherine, howe!er, there cae a strange
con!iction that her ideal was not an i#ossible one. 'll her ind and heart were filled
with the iage of the #erfect husband she had concei!ed. 9he continually used how she
ight find hi.
*hile she thought on these things, an old herit cae to her one day saying that
he had had a !ision, and had been sent with the essage that her chosen bridegroo
awaited her. Catherine at once arose and followed the herit into the desert. Here it was
re!ealed to her that the #erfect an she had dreaed of was :esus, the Christ, and to this
hea!enly bridegroo she was united in ystic arriage. ,eturning to her #alace she
wore a arriage ring, as the #er#etual token of this s#iritual union.
The story eA#lains the subject of our #icture. The Christ$child, seated on his
other@s knee, is about to #lace a ring on 9t. Catherine@s finger, while 9t. 9ebastian looks
on as a wedding guest. The infant bridegroo #erfors his #art with delight. He holds
the #recious circlet between the thub and forefinger of his right hand, and with his left
singles out 9t. Catherine@s ring finger. The bride@s hand rests on the other@s o#en #al,
held beneath as a su##ort.
hCiagesCiageB04JB4.j#g$,EP%'CEBME THE M',,+'GE () 9T. C'THE,+<E
The %ou!re, Paris
'll are watching the child@s otions intentlyO the other with Euiet #leasure, 9t.
9ebastian with boyish curiosity, and 9t. Catherine herself with sweet seriousness. 'ny
co#arison of the scene with a huan arriage is set aside by the fact that the
bridegroo is an infant. The cereony is of #urely s#iritual significance, a true
sacraent. 9t. Catherine@s eA#ression and anner are full of huility, as in a religious
ser!ice.
The Christ$child is a robust little fellow whose chief beauty is his curls. He has
the large head which usually shows an acti!e te#eraent, and we fancy that he is
soewhat asterful in his ways. *e shall see the sae boy again in the #icture called
The Madonna of 9t. :eroe.
The other, too, has a face which soon becoes failiar to the student of
Correggio@s works. The eyes are full, the nose is rather #roinent, the outh large and
siling, and the chin sall. E!en 9t. Catherine is of the sae ty#e, eAce#t that her face is
cast in a saller and ore delicate ould. Her hair is arranged #recisely like that of the
Madonna, the braids bound about the head, #reser!ing the #retty round contour. Both
woen wear dresses cut with round low necks, showing their full throats. 9t. Catherine@s
left hand rests u#on a wheel with s#iked ri, which, as we ha!e seen, is her usual
eble. 'nother eble is the sword, whose hilt #rojects fro behind the wheel. This
was the instruent of her eAecution.
9#ecial #roinence is gi!en in the #icture to three sets of hands. The skill with
which they are #ainted is noted by critics as one of the any artistic erits of the work.
(ne of Browning@s #oes217 describes an artist@s editations while trying to draw a
hand. His failure teaches hi to realiQe that he ust study the
N)lesh and bone and ner!e that ake
The #oorest coarsest huan hand
'n object worthy to be scanned
' whole life long for their sole sake.N
9uch ust ha!e been Correggio@s study to enable hi to #roduce the beautiful
hands we see here.
217Beside the -rawing Board.
9t. 9ebastian is a figure not to be o!erlooked. *e ay find his like aong the
genii of the Para Cathedral, which we are to study. He is a joyous being to who it is
good erely to be ali!e. The elfin locks falling about his face ake hi look like soe
creature of the woods. *e are reinded ost of the faun of the Greek ythology. The
arrows in his hand suggest soe syl!an s#ort, but in reality they are the eble of his
artyrdo. 'ccording to tradition the young saint was bound by his eneies to a tree,
and shot with arrows.
Behind the grou# stretches a bit of o#en country, and if we look closely we can
discern here two grou#s of sall figures. (ne re#resents the artyrdo of 9t. 9ebastian,
and the other, the eAecution of 9t. Catherine. *e ay su##ose that such gruesoe
subjects were not the choice of the #ainter. +t is #robable that they were dictated by his
#atrons, and in obeying orders he ade the figures as incons#icuous as #ossible.
I-
CEILING DECORATION IN THE SALA DEL PERGOLATO
.HALL OF THE -INE TRELLIS/
.S! Pao0o, Par&a/
+n the tie of Correggio the con!ent of 9. Paolo F9t. PaulG in Para was in charge
of the abbess Gio!anna da PiacenQa, who had succeeded an aunt in this office in 4J0I.
9he was a woan of liberal o#inions, who did not let the duties of her #osition entirely
absorb her. 9he still retained soe social connections and was a #atroness of art and
culture. The daughter of a noblean, she was a #erson of conseEuence, whose #ri!ate
a#artents were such as a #rincess ight ha!e. 'lready a well known #ainter of the day
had decorated one of her roos when she heard of the rising artist Correggio. Probably
ad!ised by her relati!e the Ca!aliere 9ci#ione Montino, she coissioned the young
#ainter to fresco a second roo.
The decorati!e schee he designed is !ery beautiful and elaborate. The sEuare
ceiling is co#letely co!ered with a siulated trellis, ebowered in foliage and flowers,
and #ierced by o!al windows through which children are seen at #lay. ' circle in the
centre contains the faily ars of the abbess, a shield on which three crescent oons are
set diagonally. )ro this centre, as fro the hub of a wheel, a series of gilded ribs radiate
towards the sides, cutting the whole s#ace into triangular sections whose surfaces are
slightly hollowed. The o!al windows of the trellis o#en in these sections, one in each
triangle, and siAteen in all. 'bo!e e!ery window hangs a bunch of fruit, seeingly
sus#ended fro the centre by ribbons fancifully braided about the ribs. The outer edge of
the design, where the ceiling joins the walls, is finished by a series of siAteen lunettes or
seicircles running around the sEuare, one in each section. The frieQe around the side
walls siulates a narrow scarf caught u# in festoons between ornaented ca#itals fored
of ras@ heads. The reaining decoration of the roo is on the ca# of the chiney, and
re#resents the goddess -iana setting forth for the chase.
This #icture furnishes the subject of the children@s gaes in the lattice bower. The
little s#rites are attendants of the goddess, #laying in a iic hunt. Two or three ay be
seen through e!ery window, busy and ha##y in their innocent s#ort. (ne is the delighted
#ossessor of a Eui!er of arrows, fro which he draws a shaft. (thers #lay with the
hounds, #ulling the hither and thither at their will. ' grou# of fi!e find the hunting$horn
an ausing #laything, and good$huoredly stri!e together o!er the treasure.
hCiagesCiageB0.4B4.j#g$,EP%'CEBME CE+%+<G -EC(,'T+(< +< THE
9'%' -E% PE,G(%'T(
Con!ent of 9. Paolo, Para
(ur illustration shows a Euarter section of the ceiling, fro which we can in
iagination reconstruct the whole diagra. 2I7 %et us see what the children are doing in
this corner of the lattice. 't the window directly in front of us a little fellow #roudly
eAhibits a stag@s head as a tro#hy of the chase. :ust behind his shoulder a erry
co#anion, #ee#s out, and lower down, on the other side, a##ears the head of an anial
like a doe. +n the neAt window is a boy with a wreath of flowers with which he and a
co#anion a##arently ean to crown the head of the stag. The third boy of the grou# has
for the oent lost interest in the #lay, his attention being attracted by soething going
on outside. <ow coes a boy #assing by the neAt window, who hastens to join the #arty
we ha!e just seen. His #layfellow wants to go the other way, and tries to detain hi.
NCoe,N he says, seiQing hi by the ar, Nthere@s no fun o!er there. 9ee what + ha!e
found.N
2I7 ' Euarter section, atheatically eAact, is of course, sEuare in sha#e. +n our
illustration the lower #art of two lunettes is cut off.
*e are soewhat at a loss to know just what ischief the baby in the neAt
window has been #lotting. He gras#s with both hands a tall staff, which ay be a
hunting$s#ear, or #erha#s a #ole with which he ho#es to reach the fruit. +n soe way he
has anaged to get both feet through the window, and is now in a #recarious #osition,
half in and half out. His co#anion tries to draw hi inO but whether he is alared at the
danger, or is hiself eager to get the #ole, we cannot tell.
The lunettes of the ceiling are #ainted in gray, fraed in borders of sea$shells.
They are ade to siulate niches containing scul#tured figures with soe allegorical or
ythological eaning. +n our illustration we see first the figure of Chastity, holding in
her right hand the do!e, which is the eble of innocence. The dress is the long, #lain
tunic seen in Greek scul#ture, and the thin stuff of which it is ade flows in graceful
lines about the for. *e are reinded of Milton@s lines in NCous&NP
N9o dear to Hea!@n is saintly Chastity,
That when a soul is found sincerely so,
' thousand li!eried angels lacky her,
-ri!ing far off each thing of sin and guilt,
'nd in clear drea and solen !ision,
Tell her of things that no gross ear can hear.N
The neAt figure is siilar in character and eaning. +t is >irginity, holding in her
right hand the lily, which is the sybol of #urity. The other two figures, of which we see
only the u##er #ortion, are )ortune, with a cornuco#ia, and the heleted 'thena, with
s#ear and torch.
't the death of the abbess Gio!anna in 4JI5, the con!ent of 9. Paolo entered
u#on a #eriod of se!ere ecclesiastical disci#line. )or ore than two centuries it was
i#ossible for outsiders to gain adittance, and the N9ala del PergolatoN was a sealed
treasure. )inally, in 4I/5, the 'cadey of Para gained #erission to eAaine
Correggio@s #aintings. 'fter the su##ression of the con!ent the roo was thrown o#en to
the #ublic, and the building is now used for a school.
-
DIANA
+n classic ythology, -iana, the Greek 'rteis, was the goddess of the oon,
twin sister of the sun$god '#ollo. 's the rays of oonlight see to #ierce the air like
arrows, -iana, like '#ollo, was said to carry a Eui!er of dartsO the slender arc of the
crescent oon was her bow. Thence it was natural to consider her fond of hunting, and
she becae the s#ecial #atroness of the chase and other syl!an s#orts. Her fa!orite haunts
were gro!es and lakes, and she blessed the increase of field and eadow. 9he was
istress of the brute creation, and showed s#ecial fa!or to the bear, the boar, the dog, the
goat, and the hind. The #oet *ordsworth has described how the ancient huntsan
regarded the goddess&P
NThe nightly hunter lifting u# his eyes
Towards the crescent oon, with grateful heart
Called on the lo!ely wanderer who bestowed
That tiely light to share his joyous s#ortO
'nd hence a beaing goddess with her ny#hs
'cross the lawn and through the darksoe gro!e
F<ot unacco#anied with tuneful notes
By echo ulti#lied fro rock or ca!eG
9we#t in the stor of chase, as oon and stars
Glance ra#idly along the clouded hea!en
*hen winds are blowing.N2M7
2M7 +n The EAcursion.
There were other #leasant beliefs about -iana such as ight be connected with
the thought of the oon. 's the oonlight cheers the tra!eller on his way and enters the
chaber of the sick and lonely, so -iana was said to watch with the sick and hel# the
unfortunate. The #ale, white light of the oon is a natural sybol of #urity, hence -iana
was a aiden goddess abo!e all allureents of lo!e. Her worshi# was conducted with
s#lendid rites in !arious ancient cities. The te#le built in her honor at E#hesus was
faous as one of the se!en wonders of the world.
The ancients naturally liked to fancy the goddess !ery beautiful. The Greek #oet
'nacreon called her Nthe goddess of the sun bright hair.N The English =eats, who
delighted in the old Greek yths, has also described the chars of Nthe haunter chaste of
ri!er sides, and woods and heathy waste.N2/7 9he had N#earl round ears, white neck,
orbed brow, blush tinted cheeks,N and Na #aradise of li#s and eyes.N
2/7 +n Endyion. 9ee also %owell@s Endyion for a descri#tion of -iana.
+n our #icture the oon goddess is ounting her car for the nightly course across
the sky.2407 Though she sees to be but just s#ringing to her #lace, with bending knee,
she is already s#eeding on her way.
2407 's '#ollo dri!es the sun chariot across the sky by day. Co#are Guido
,eni@s 'urora.
NHow treulous$daQQlingly the wheels swee#
'round their aAle.N
Her Eui!er, well filled with the bow and arrows, hangs at her back, held by the
stra# bound o!er her breast. 2447 The crescent oon gleas abo!e her brow. The !ehicle
is the sall two$wheeled chariot used aong the ,oans, scarcely larger than a chair.
(nly the hind legs of the steeds ay be seen, but we fancy the to be two white does.
2447 +t sees odd that with this full Eui!er the subject should be called by soe
N-iana@s ,eturn fro the Chase.N
hCiagesCiageB0.IB4.j#g$,EP%'CEBME -+'<'
Con!ent of 9. Paolo, Para
The huntress turns her face earthward, lifting a fluttering !eil high in her left
hand. +t is as if the face of the oon had been hidden behind a cloud which the goddess
suddenly draws aside and shows Nher fulgent head unco!ered, daQQling the beholder@s
sight.N +t is with a bright, cheerful countenance that she beas u#on her worshi##ers. '
sense of courage and eAhilaration is eA#ressed in her s#irited bearing. *ith her right hand
she #oints forward, as if calling us to join in the s#ort. +n the swiftness of her otion her
unbound hair and fily garents blow out behind her.
9he is a country$bred aiden, with #lu# neck and round ars, and her chief
char is her buoyant !itality. Her o#en face, with eyes set rather far a#art, is the indeA of
her nature. Her free life in the woods has de!elo#ed a well #oised woanhood. )ear is
unknown to herO #ain and disease coe not near her. ,ejoicing in iortal youth and
strength, she s#eeds nightly through the sky, the essenger of light and cofort.
's we ha!e seen in the #receding cha#ter, the #icture of -iana is #ainted in fresco
on the chiney ca#, or hood, o!er the great fire#lace in the Hall of the >ine Trellis. *e
ay well belie!e that the decoration went far towards furnishing the stately a#artent.
;nderneath runs the %atin inscri#tion, N +gne gladio ne fodias,N stir not the fire with the
sword.
+t will be reebered that the ars of the abbess, for who the roo was
decorated, bore the de!ice of the crescent oon. This fact ay ha!e suggested to
Correggio, or his #atrons, the subject of the oon goddess. -iana, as a !irgin di!inity,
was an es#ecially a##ro#riate choice for the a#artent of a nun.
The legends of Greek ythology were at that tie !ery #o#ular aong #eo#le of
culture, ha!ing been recently brought to notice in the re!i!al of classic learning. +n +taly
they furnished thees for the #ainterO in England, for the #oet. The English Ben :onson,
li!ing a half a century later than Correggio,24.7 but re#resenting in a certain easure the
sae lo!e of classic allusion, wrote a NHyn to -iana,N which ight ha!e been ins#ired
by this #icture. The first stanQa ay be Euoted for its inter#retation&P
NSueen and huntress, chaste and fair,
<ow the sun is laid to slee#,
9eated in thy sil!er chair,
9tate in wonted anner kee#.
Hes#erus entreats thy light,
Goddess eAcellently bright.N
24.7 That is, fro 4JI6 to 416I.
-I
ST! 1OHN THE E-ANGELIST
+t seeed understood aong the twel!e disci#les of :esus that :ohn was the one
of their nuber es#ecially belo!ed by the Master. He and his brother, :aes, were the
sons of the fisheran Tebedee, and all three en earned their li!ing in their fishing$boats
on the sea of Galilee. +t was while they were busy with their nets that :esus one day
called the two brothers to be fishers of en. N'nd they straightway left their nets and
followed hi.N2467
2467 9t. Matthew, cha#ter i!., !erse .0.
;nder the teachings of :esus, :ohn grew in knowledge of s#iritual things. He was
one of the three acco#anying their Master to the Mount of Transfiguration, where they
witnessed a sacred scene withheld fro the others. His nature was affectionate and
#oetic, and he was a dee# thinker. (ften when the eaning of :esus@ words was beyond
his hearers, :ohn treasured the sayings in his eory. (n the e!ening when :esus sat at
table with his disci#les for the last tie, :ohn was near hi, leaning on his Master@s
breast. *hen, on the neAt day, :esus hung u#on the cross, it was :ohn to who he
coended his other as to a son. N'nd fro that hour that disci#le took her unto his
own hoe.N
+n the years that followed, :ohn #ursued his Christian ser!ice with the Qeal of an
ardent nature. He reained awhile in :udaea and, in co#any with Peter, added any
con!erts to the faith. He then carried the work into 'sia Minor, where he founded se!en
churches. <ot only was he a #reacher and organiQer, but a !oluinous writer as well. The
fourth Gos#el is belie!ed to be his work, in which he records any words and deeds of
:esus o!erlooked by the other E!angelists. He was also the writer of the three E#istles
which bear his nae. )inally, he is su##osed to be the author of the book of ,e!elation,
in which he described his !isions during his eAile in the isle of Patos. 'ccording to
tradition, he li!ed to a great age, and died at E#hesus in 'sia Minor.
The lo!e with which Christians cherish the eory of 9t. :ohn is seen in the
nuber of churches bearing his nae. (ne such is that in Para which was newly built
at the tie when Correggio was winning his first laurels. The ost i#ortant #ortions of
the interior decorations were eAecuted by our #ainter.
Before considering the frescoes of the cu#ola, the !isitor to the church likes to
#ause before the lunette o!er the door of the left transe#t. The subject is 9t. :ohn, seated
with his writing aterials on his la#. There is a #ile of books behind hi and a !olue
beside hi. 't his feet stands the sybolic eagle #luing his wing.
hCiagesCiageB066B4.j#g$,EP%'CEBME 9T. :(H< THE E>'<GE%+9T
Church of 9. Gio!anni E!angelista, Para
The ebles of the E!angelists are drawn fro EQekiel@s !ision of the Nfour
li!ing creatures,N whose faces were those of a an, a lion, an oA, and an eagle. '##lied
res#ecti!ely to the writers of the four Gos#els, each eble suggests soe characteristic
trait. The eagle is es#ecially a##ro#riate to 9t. :ohn. 's the bird soars into the u##er
regions of the sky and looks directly at the sun, so 9t. :ohn@s ins#iration raised hi into
the highest reals of thought, where he seeed to gaQe directly u#on the di!ine glory. +t
is for this that he is called 9t. :ohn, Nthe di!ine.N 's the %atin inscri#tion o!er the lunette
reads, NMore dee#ly than the others he disclosed the ysteries of God.N 2457
2457 N'ltius coeteris -ei #atefecit arcana.N
+n our #icture the E!angelist lifts his eyes hea!enward as if beholding a !ision.
His li#s are #arted, and he has the ra#t eA#ression of one absorbed in editation. His
right hand still holds the #en as he #auses for ins#iration.
+n trying to do honor to the belo!ed disci#le, the #ainters ha!e always re#resented
hi as the ost beautiful of the twel!e. 's the ost Christ$like in character, he is ade
to reseble the ty#ical figure of Christ. 9o in this fresco by Correggio, he is a beautiful
youth, with the curling hair, the o!al face and the regular features we associate with the
#erson of :esus. Though the beardless face is so refined, there is nothing weak or
effeinate about it. The whole figure is indeed !ery anly. The head is well set on a full
throat and the shoulders are broad. ,ising to his feet 9t. :ohn would be a tall, athletic
young an, ca#able of lending a strong hand at his father@s fishing$nets. The union of
strength and refineent akes the #icture one of the ost attracti!e ideals of 9t. :ohn
e!er #ainted.
The keynote of 9t. :ohn@s Gos#el is the lo!e of GodO his ardent nature ne!er
wearied of the theeO the wonder in his lifted face shows hi still intent u#on the
ystery. *ere we to seek soe characteristic utterance which should a##ro#riately
inter#ret his thoughts, it ight well be the words of :esus to <icodeus, NGod so lo!ed
the world that he ga!e his only begotten son, that whosoe!er belie!eth in hi should not
#erish, but ha!e e!erlasting life.N24J7
24J7 9t. :ohn, cha#ter iii., !erse 41.
-II
ST! 1OHN AND ST! AUGUSTINE
The church of 9. Gio!anni E!angelista F9t. :ohn the E!angelistG, in Para, is built
with a doe$sha#ed cu#ola which Correggio filled with a fresco decoration. The subject
is drawn fro the life of the a#ostle whose nae is gi!en to the church& it is the !ision of
9t. :ohn on the isle of Patos. %ooking u# into the doe, one sees to be looking
directly into the o#en sky, u#on the figure of Christ ascending into hea!en. The a#ostles
sit in a circle on the clouds, and beneath the the aged 9t. :ohn kneels on the ountain
to#, gaQing u#wards u#on the !ision. The hea!enly s#aces are ali!e with angels, for, as
Browning writes&P
NCorreggio lo!es to ass, in rifts
(f hea!en, his angel faces, orb on orb.N
The little creatures are s#orting aong the clouds and, in the #oet@s #hrase,
Nwaiting to see soe wonder oently grow out.N
*here the doe rests u#on the four arches which su##ort it, are four triangular
corner$#ieces called #endenti!es, which also belong to Correggio@s decorati!e #lan. They
are de!oted res#ecti!ely to the figures of the four E!angelists, each one acco#anied by
one of the four )athers of the Church. The Christian )athers were the en whose writings
and teachings sha#ed the doctrines of the faith in the early centuries of our era. They
inter#reted for the #eo#le the eaning of the 9cri#tures and the Gos#els.
The #endenti!e of our illustration contains 9t. :ohn with 9t. 'ugustine. The two
sit side by side, engaged in a discussion o!er the book which they hold together. 9t. :ohn
is young and beautiful, as the #ainters always re#resent hi, eAce#t in the subject of the
!ision of Patos. The face is #erha#s less strong and the eA#ression less eAalted than in
the lunette we ha!e studied. There is a boyish eagerness in his anner. The sybolic
eagle is beside hi, #ee#ing out fro the folds of the dra#ery. 9t. 'ugustine is a
handsoe old an with finely cut features. To understand how well the figure fits his
character, we ust know soething of his life.2417
2417 The life of 9t. 'ugustine, also called 9t. 'ustin, is related in the Golden
%egend. 9ee CaAton@s translation in the Te#le Classics, !ol. J, #age 55. Mrs. :aeson
gi!es a condensed account of the life in 9acred and %egendary 'rt, #. 606.
He was born in <uidia near the iddle of the fourth century, and showed in his
boyhood brilliant #owers of ind. *ithout the hel# of any teacher he read and astered
all the books necessary to an education in the liberal arts. His other, Monica, was a
de!out Christian, and sought to lead her son to a godly life. )or a long tie her efforts
seeed in !ain. 'ugustine would ake no #rofession of the Christian faith, but rather
indulged in youthful dissi#ations. His best Euality was his lo!e of study. He becae a
teacher of rhetoric, and #ursued his !ocation in one city and another, always dissatisfied
with his life. 't length, in his thirtieth year, he cae to Milan, where he fell under the
influence of Bisho# 'brose. Then followed a ighty struggle in his soul, and in the end
he yielded hiself joyfully as a disci#le of Christ. (n the occasion of his ba#tis was
co#osed the hyn called the NTe -euN which is still used in churches.
hCiagesCiageB06/B4.j#g$,EP%'CEBME 9T. :(H< '<- 9T. ';G;9T+<E
Henceforth the life of 'ugustine was filled with Christian labors. 'fter soe ten
years of de!out li!ing he becae the bisho# of Hi##o Fnear CarthageG where he resided
for thirty$fi!e years, until his death in 560. 'll his stores of learning were de!oted to the
eA#lanation of Christian theology. He wrote a great nuber of treatises refuting what he
belie!ed to be heresies, and setting forth what he considered the true doctrines of the
faith. 'n old writer #ronounced hi Nsweet in s#eech, wise in letters, and a noble worker
in the labours of the church.N +n a book of NConfessionsN he laid bare all his faults with
great huility.
+n our #icture the good bisho# is learning the truths of the faith fro 9t. :ohn,
while a child$angel behind hi holds his crosier and itre. 'llowing for the difference of
ages, there is a certain reseblance between the two en, showing that they ha!e in
coon a refined and sensiti!e nature, and an ardent te#eraent. The older an@s face
shows lines of thought and character.
9t. :ohn sees to be counting off the #oints of the discussion on his fingers& it
ay be that he is unfolding the doctrine of the Trinity. The bisho# follows the arguent
slowly, iitating 9t. :ohn@s gesture with hesitating hands. *hat sees so clear to the
eager young teacher reEuires uch deliberation on the #art of the learner. The old an
knits his brows with an intent eA#ression, stri!ing to understand the ystery. The two
earnest faces turned towards each other ake an interesting contrast.
The angel figures of the #endenti!e are worthy of notice. Three little creatures are
frolicking on the clouds below the saints@ feet, and two are #erched on the u##er #art of
the arches. They are wingless s#rites, #layful as huan children, but with a grace and
beauty not of earth. Two see to be eerging fro a hiding$#lace in the clouds, and gaily
hail their corade on the arch abo!e. The lo!ely s#rite on the o##osite arch is thinking of
other things, and looks o!er his shoulder across the church. The tiny fellow in charge of
the itre and crosier #ee#s out with a ischie!ous countenance.
(ur re#roduction shows a #ortion of the soffits, or under sides of the arches,
decorated with figures fro (ld Testaent history, #ainted in onochroe.
-III
ST! MATTHEW AND ST! 1EROME
The a#ostle Matthew was e#loyed as a taA$gatherer in :erusale when he
becae a disci#le of :esus. He was sitting one day at the recei#t of custos, when :esus
#assed by and said unto hi, N)ollow e.N N'nd he left all, rose u# and followed
hi.N24I7 9oon after, the new disci#le ade a great feast for the Master, scandaliQing the
scribes and Pharisees by in!iting guests of doubtful re#utation. Matthew, howe!er, had
rightly judged the s#irit of :esus, who had coe Nnot to call the righteous, but sinners to
re#entance.N Throughout the inistry of :esus, Matthew reained a faithful disci#le, but
without distinguishing hiself in any way. E!idently he had a thoughtful ind and a
good eory. +n his Gos#el he re#orted !ery fully the 9eron on the Mount and any
of the #arables.
24I7 9t. %uke, cha#ter !., !erse .M.
(ne of the #endenti!es of the cu#ola in the church of 9. Gio!anni E!angelista is
de!oted to 9t. Matthew in co#any with 9t. :eroe. The E!angelist turns fro the o#en
Gos#el before hi to s#eak to 9t. :eroe, who is occu#ied with his writing. ' winged
cherub, sitting on a cloud in front of hi, su##orts his book with both outstretched ars.
The cherub is 9t. Matthew@s eble, as the eagle is that of 9t. :ohn. +t is by this
charing figure that the old asters re#resented the face of Na an,N that is, the huan
face, in the Nli!ing creatureN of EQekiel@s !ision. 24M7 The sybol is a##ro#riately a##lied
to the first E!angelist because his Gos#el e#hasiQes the huanity of :esus.
24M7 9ee also #ages 65, 6J.
The token of 9t. :eroe@s identity is the cardinal@s hat, held by an angel on the
arch beside hi. The two !olues on his la#, in addition to the scroll u#on which he is
engaged, show how busy has been the #en of this learned )ather. 's the old chronicler
relates, Nhe ne!er rested day ne night, but always read or wrote.N24/7
24/7 The life of 9t. :eroe is related in the Golden %egend. 9ee CaAton@s
translation, in the Te#le Classics, !ol. !., #age 4//. Mrs. :aeson gi!es a condensed
account of the sae in 9acred and %egendary 'rt, #age .M0.
He cae of a rich faily, and recei!ed at ,oe the best education afforded by his
ties. %ike his conte#orary, 9t. 'ugustine, he de!oted all his scholarshi# to the ser!ice
of the Christian faith. *hile 9t. 'ugustine@s tastes were ore #hiloso#hical, 9t. :eroe@s
were #erha#s ore for #ure learning and the study of the classics. He ade hiself
aster of Hebrew and Greek, and his ost !aluable work was his translations. He
rendered into %atin, which was the literary language of his day, the !arious books of the
(ld and <ew Testaent, and this !ersion becae the authoriQed Bible or >ulgate.
hCiagesCiageB05JB4.j#g$,EP%'CEBME 9T. M'TTHE* '<- 9T. :E,(ME
9t. :eroe was a -alatian by birth, but in the course of his life he journeyed to
any countries. 9oon after his ba#tis, he !isited 9yria, to retrace the scenes of the life
of Christ. He then retired to a desert, where he #assed four years in #enance and fasting,
li!ing in the co#anionshi# of wild beasts. Clothed in sackcloth, he s#ent his days in
torture, struggling with te#tation, and haunted by !isions of deons.
't a later #eriod of his life he was in ,oe, where he gained an iense
influence o!er fashionable woen. Two of his con!erts here were Paula and Marcella,
whose naes are historical. )inally he returned to Palestine, and #assed the reainder of
his days in a onastery which he had founded in Bethlehe. He was a an of !eheent
nature, a !iolent #artisan, and an untiring student.
9oething of his character ay be seen in the face of the old an of our #icture,
bending o!er his writing. He sees so absorbed in his task that he is entirely unconscious
of his surroundings. The dee#$set eyes, o!erhung by shaggy brows, are fiAed intently on
his scroll. )ro his association with 9t. Matthew, we ay fancy that he is translating the
first Gos#el. The E!angelist, with his own !olue before hi, is su#er!ising the work.
He turns to the translator with an encouraging sile, and sees to dictate the words. 9t.
Matthew@s face is gentle and aiable, though not so strong as we are wont to iagine it.
He is here re#resented in iddle life, at about the age when called to disci#leshi#.
's in the #endenti!e of 9t. :ohn and 9t. 'ugustine, the angel figures add an
eleent of beauty to the #icture. Each one sees attracted by soe distant object. The
cherub holding 9t. Matthew@s book looks towards the worshi##ers in the church. 9oe
one in the congregation also sees to attract the attention of the angel with the cardinal@s
hat, and he siles shyly, as if in re#ly to a gesture of adiration. His co#anion on the
other arch turns his eyes towards the figures in the doe, where the a#ostles are
enthroned on clouds. The #layful little fellow on the clouds below 9t. Matthew@s feet
looks across at the s#rites of the o##osite #endenti!e.
'll this charing by$#lay gi!es the i#ression of a co#any of li!ing s#irits
frolicking aong the arches of the church. NHa!e Correggio@s #utti2.07 grown u# yet and
walked out of their fraesUN the #ainter, Guido ,eni, used to ask, referring with Euaint
huor to the wonderful lifelikeness of such child figures. 9o, looking at these angels, we
half eA#ect to see the wa!e a hand to us o!er the arches, and, turning with a sudden
otion, disa##ear fro our sight aong the clouds.
2.07 +talian for Nboys.N
I2
THE REST ON THE RETURN FROM EGPT
.T#e Ma%o33a %e00a Sco%e00a/
Before the child :esus was two years old, he was taken on a journey which at that
tie was long and tedious. 'n angel a##eared to :ose#h one night in a drea, saying,
N'rise, and take the young child and his other, and flee into Egy#t, and be thou there
until + bring thee wordO for Herod will seek the young child to destroy hi.N
The news of :esus@ birth had been first brought to =ing Herod by the wise en of
the East, who cae in search of the new$born king whose star they had seen. The idea of
a strange ruler to usur# the throne alared Herod, and he deterined to be rid of any
#ossible ri!al. 'ccordingly orders were gi!en to slay all children in and near Bethlehe
Nfro two years old and under.N
*hile this terrible slaughter was going on, the Holy )aily were aking their
way to the strange land of refuge. Here they li!ed, awaiting hea!enly guidance for their
return. NBut when Herod was dead, behold an angel of the %ord a##eareth in a drea to
:ose#h in Egy#t, saying, 'rise, and take the young child and his other, and go into the
land of +sraelO for they are dead which sought the young child@s life. 'nd he arose, and
took the young child and his other, and cae into the land of +srael.N 2.47
2.47 The Euotations are fro 9t. Matthew, cha#ter ii.
This is all the E!angelist tells us of what was doubtless an eAciting, #erha#s e!en
a #erilous ad!enture. *e ay su##ose both journeys to ha!e been ade by donkeys, the
coon beasts of burden in Eastern countries. The young other and child ust
certainly ha!e had to ride. 's for :ose#h, he was a sturdy an, and ay well ha!e
walkedO in those days tra!elling was a atter of tie. ;nused to luAuries, these si#le
folk trusted in Pro!idence to su##ly their few needs by the way.
(ur #icture illustrates an iaginary incident on the return journey fro Egy#t to
+srael. +t is the hour of the noonday rest, and the little co#any ha!e coe to a halt in the
woods. 'n old legend relates how at such ties the trees would bend to offer the fruit,
and s#rings would gush forth out of the dry ground for their refreshent. Mary has seated
herself on a bank by the strea, while :ose#h #lucks the fruit fro the date #al near by.
The boy :esus has been standing between the two, watching :ose#h, fro whose
outstretched hand he now takes the fruit. 't the sae tie he is thirsty, and leaning back
towards his other, he turns and throws an ar o!er her shoulder, asking for a drink of
water. 9he has a round basin For scodellaG which the faily use as a drinking$cu#, and the
child #oints to it with a coaAing sile, resting his hand on her wrist.
hCiagesCiageB0J4B4.j#g$,EP%'CEBME THE ,E9T (< THE ,ET;,< ),(M
EG"PT FM'-(<<' -E%%' 9C(-E%%'G
Para Gallery
Mary turns with fond #ride towards the dear little face so near her own. Her face
is the sae which we ha!e already seen bending in a other@s first ecstasy o!er her babe.
Here it has a aturer and ore atronly look, but with no less sweetness. :ose#h, fro
his higher le!el, looks down kindly u#on the two. His generous nature sees to take
delight in anything that gi!es the #leasure. He is large and hea!ily built, a stalwart
#rotector should #erils beset the. +n s#ite of the thick dra#eries so clusily wound
about hi, he is a dignified figure. He holds here a #lace of #roinence seldo gi!en
hi by other #ainters.
The child u#on who so uch lo!e is la!ished is a tall, lithe boy with a well
sha#ed head. His hair is #arted, and falls in loose curls on each side of a forehead which
arks hi a child of genius. The face is delicate and sensiti!e, with a shy eA#ression in
the eyes.
The faily are not alone, for, all unseen by the, a co#any of inistering
angels wait u#on the. ' tall one in the rear takes care of the donkey. 'nother little
creature #ee#s fro the thicket beside Mary. )our ore circle o!erhead aong the
branches of the trees, borne u#on little clouds which they ha!e brought with the fro
the u##er regions. Their wind$blown hair and fluttering garents show how swift is their
otion. (ne of the tugs ightily at the #al, throwing hiself backward in the effort
to bend it towards :ose#h. Two others s#ort together with interlocked ars, and higher
still, a #air of eyes glea through the lea!es. The whole jocund co#any see to fill the
#lace with irth. They fulfil the #roise of the ancient #salist, NHe shall gi!e his angels
charge o!er thee, to kee# thee in all thy ways.N
Certain characteristics of Correggio@s art are well illustrated in the #icture. His
delight in the foot is here alost eEual to that he shows for the hand in NThe Marriage of
9t. Catherine.N The three wayfarers tra!el with bare feet, and the inistering angels flaunt
their feet gaily in the air. -rawn in any #ositions, it is interesting to see how decorati!e
this feature of the #icture is.
The figures are cle!erly grou#ed, that they ay co#letely fill the tall, narrow
#anel. The co#osition is built on a diagonal #lan. )ro the left hand of :ose#h, gras#ing
the #al branch, to the right hand of Mary, with the basin of water, runs the strong ain
line which gi!es character to the drawing. The child links the two larger figures together,
by stretching out a hand to each. The grou# of cloud$borne angels abo!e also follows a
diagonal direction #arallel to the larger grou#. *e shall #resently see that the #ainter used
the sae ethod of co#osition in another #icture.
The o#ening beyond the co#se, where the donkey is tied, akes the s#ot see less
glooy and isolated. +t is an i#ortant #rinci#le of art to re#resent no enclosed #lace
without a gli#se of light in the background.
2
ECCE HOMO
The old Hebrew #ro#het who wrote of the coing Messiah #redicted that he
should be Ndes#ised and rejected of en, a an of sorrows, and acEuainted with grief.N
How fully the #ro#hecy was realiQed, we ay read in the narrati!e of the trial and
crucifiAion of :esus.
The eneies of :esus had to deal with their #risoner according to the forality of
the ,oan law. They brought hi to the ,oan go!ernor, Pontius Pilate, accusing hi
of N#er!erting the nation, and forbidding to gi!e tribute to Caesar, saying that he hiself
is Christ, a king.N2..7 The go!ernor duly eAained :esus, but, finding no case against
hi, #ro#osed to scourge hi and let hi go.
2..7 9t. %uke, cha#ter AAiii., !erse ..
NThen Pilate therefore took :esus and scourged hi. 'nd the soldiers #latted a
crown of thorns and #ut it on his head, and they #ut on hi a #ur#le robe, and said, Hail,
=ing of the :ewsR and they sote hi with their hands. Pilate therefore went forth again,
and saith unto the, Behold, + bring hi forth to you, that ye ay know that + find no
fault in hi.
NThen cae :esus forth, wearing the crown of thorns, and the #ur#le robe. 'nd
Pilate saith unto the, Behold the anR *hen the chief #riests therefore and officers saw
hi, they cried out, saying Crucify hi, Crucify hi.N2.67 Pilate again sought to release
:esus, but the #eo#le continued to claor, N'way with hi,N NCrucify hi.N NThen
deli!ered he hi therefore unto the to be crucified.N 2.57
2.67 9t. :ohn, cha#ter AiA., !erses 4$1.
2.57+b., !erse 41.
The %atin for of Pilate@s words, NBehold the an,N has gi!en the title NEcce
HooN to our #icture. +t is the oent when :esus coes forth fro the rude ockery of
the soldiers, clad in a royal robe, and wearing the crown of thorns. The go!ernor has
bidden one of the soldiers lead the #risoner out on a balcony of the #alace. 'n eager
throng of #eo#le are waiting outside, but they are not all eneies. 'ong the are a few
faithful woen, and they are allowed to #ress close to the balcony. 't the sight of her
son, treated as a criinal with bound hands, the other, Mary, falls swooning o!er the
balustrade, su##orted by a younger woan.
Pilate standing in the doorway behind a##eals to the crowd& N+ find no fault in
hi. Behold the an.N He has been dee#ly i#ressed by his inter!iew with :esus, and is
willing to do soething in his behalf. His face is good$natured, we see, but with no
strength of character in it. He is a handsoe an with curling beard carefully tried,
a##arently not a hard an to deal with, but easy$going and selfish.
hCiagesCiageB0JIB4.j#g$,EP%'CEBME ECCE H(M(
<ational Gallery, %ondon
:esus stands with droo#ing head and an eA#ression of suffering resignation. +n the
enacing faces before hi he sees the hatred which will be satisfied with nothing less
than his death. 'lready he hears the cruel cry, NCrucify hi, crucify hi.N His badge of
kingshi# is the crown of suffering. *ere his kingdo of this world, his ser!ants would
deli!er hi fro his eneies. 's the ruler of a hea!enly kingdo, he was born Nto bear
witness unto the truth.N
The rich antle, which the soldiers ha!e ockingly thrown o!er his shoulders,
falls away and shows the body as it had been bared for the scourging. +t is a beautiful
for, #erfectly de!elo#ed, and the ars and hands are as delicately odelled as a
woan@s. The face is o!al, with regular features of classic ould, a short #arted beard,
and long hair falling in disordered curls about it. This is the ty#ical face of Christ, as it
has been handed down fro generation to generation since early in the Christian era. The
rude #ictures in the catacobs are on the sae odel. 9o faithfully has the ty#e been
followed through the centuries, soe belie!e that the original ust ha!e been an
authentic likeness.2.J7
2.J7 9ee ,eA ,egu, by 9ir *yke Bayliss.
The other Mary is still young and beautiful. 's the great Michelangelo said,
NPurity enjoys eternal youth.N2.17 ' hea!y !eil or antle is dra#ed o!er her head,
fraing the #ure #rofile of her face. This for of dra#ery is coon aong the old
asters in #ainting Mary as Mater -olorosa, or the 9orrowing Mother.
2.17 9ee the !olue on Michelangelo in the ,i!erside 'rt 9eries, #age 6J.
'rtistically considered, this figure of the fainting other is the finest thing in the
#icture. Her co#anion, #robably Mary Magdalene, is also a lo!ely creature, though we
see only a #art of her face.
The subject is in tragic contrast to the illustrations we ha!e just been studying. +t
sees strange to connect this Man of 9orrows with the ha##y boy we saw by the
woodland s#ring, or this grief$stricken woan with that #roud young other. Correggio
hiself, we know, shrank fro such sad thees.
%ike the #icture of The Marriage of 9t. Catherine, our illustration shows how
skilfully Correggio #ainted hands. The droo#ing fingers of the 9a!iour ta#er delicately,
with long alond$sha#ed nails. Pilate@s hand has slender, fleAible fingers like those of
soe dainty woan, and ight be ated with that of Mary Magdalene. +t is a##arent that
the study of hands and feet interested our #ainter ore than that of faces. *e shall lose
uch in his #ictures if we do not gi!e s#ecial attention to these features. +n the case
before us, the face of Christ ust be less attracti!e, on account of the sorrowful
eA#ression. To ake u#, as it were, for this, the hands are brought into #roinent notice,
and are !ery beautiful.
2I
APOSTLES AND GENII
The glory of Para is the Cathedral, which re#resents the labors of any
centuries. The building itself was begun in 40JM, and co#leted in the thirteenth century.
The interior was beautified by a succession of artists, one of who was our #ainter
Correggio. His work here was the decoration of the cu#ola, and he began it iediately
u#on finishing the frescoes in the church of 9. Gio!anni E!angelista.
The Cathedral doe is octagonal in sha#e. +n the roof, or to#ost s#ace, the
>irgin Mary sees borne on circling throngs of saints and angels to eet the 9a!iour in
the u##er air. Below the doe runs a cornice, or frieQe, in eight sections, filled with
figures of a#ostles gaQing u#on the !ision. 9till lower are four decorated #endenti!es,
siilar to those in the church of 9. Gio!anni E!angelista. These contain res#ecti!ely the
four #atron saints of Para.
To the s#ectator looking u# fro below, the effect is of Na o!ing !ision,
ra#turous and ecstatic.N ' ultitude of radiant figures swee# and whirl through the
hea!enly s#aces. NThey are u#on e!ery side, bending, tossing, floating, and di!ing
through the clouds, ho!ering abo!e the abysal !oid that is between the doe and the
earth below it.N 2.I7 *onderful indeed is the triu#h of the #ainter@s art in this #lace.
N,e!erse the cu#ola and fill it with gold, and e!en that will not re#resent its worth,N said
Titian.
2.I7 E. H. Blashfield in +talian Cities.
(ur illustration shows a #ortion of the octagonal cornice. The design is a
siulated balcony ornaented with tall candelabra. +n front stand the a#ostles grou#ed in
twos at the corners. (n the to# of the balustrade, in the s#aces between the candelabra,
s#ort a band of genii, or hea!enly s#irits.
The four a#ostles are en of giant fraes with broad shoulders and stalwart
libs. They are of iddle age, hea!ily bearded, and all look uch alike. +t would be
i#ossible to call one Peter, and another Paul, or to identify any #articular #ersons.
E!idently it was not the intention of the artist to distinguish indi!iduals. 'll the figures
are turned with lifted faces towards the !ision in the doe. Each eA#resses, by a gesture,
the wonder, joy, ra#ture, or adiration aroused by the s#ectacle. Their attitudes are
soewhat eAtra!agant and self$conscious. The dra#ery, too, is rather fantastic, flung
about their figures, lea!ing ars and legs bare. *ere the #icture taken out of its
surroundings it would scarcely suggest a Christian subject. These colossal beings are like
Titans o!ing through the figures of a sacred dance, and ururing the ystic
incantations of soe heathen rite.
hCiagesCiageB016B4.j#g$,EP%'CEBME 'P(9T%E9 '<- GE<++
Cathedral, Para
But we ust not #ress our inter#retation too far. The #anel should be studied for
its decorati!e Euality as a #art of a larger schee. >iewed fro below, this #rocession of
figures ust be eAceedingly effecti!e. The e#hasis of lines is diagonal, flowing in the
direction of the focal #oint of the whole decoration.
The genii of the balustrade are beings of Correggio@s own creation. His
iagination called forth a world of s#irits without a counter#art in the work of any other
#ainter. %acking the wings usually gi!en in art to angels, they also lack the #ro#er air of
sanctity for hea!enly habitants. "et they are far too ethereal for ortals. <either angel nor
huan, they are rather s#rites of elf$land. *ith their tossing hair and agile otions they
reind us of woodland creatures, and they look shyly out of their eyes like the furti!e
folk of the forest.
They are s#orti!e, but not ischie!ous, in the huan sense. They frolic in the
#ure delight of otion. By ortal standards of age they are between childhood and youth,
when libs are long and bodies su##le. Their only dra#eries are narrow scarfs which they
twist about the in e!ery concei!able way.
(f the se!en figures seen in our illustration, two only ha!e any ostensible #ur#ose
to ser!e. (ne sees to be lighting a candelabru with a flabeauO another carries a bowl
which ay be used for incense. The others are idlers. +f they ha!e any duties as acolytes,
these are for the oent forgotten. 9e!eral are attracted by the cereonies in the
cathedral and look down fro their high #erch u#on the worshi##ing congregation.
The s#rite at the eAtree right is seated, and #ee#s o!er his shoulder with a rather
dreay eA#ression. <eAt coe two who are #laying together, one throwing u# his left
ar as if to balance hiself. Beyond the candelabru is one whose #arted hair and
coEuettish #ose of the head gi!e a feinine look to the figure. The s#rite in the centre of
the balustrade is the ost winsoe of the co#any. His bright eyes ha!e s#ied out soe
one in the congregation, and stoo#ing, he #oints directly at the #erson. His eA#ression is
!ery roguish. The little fellow with the flabeau is at the left, and last is one whose face
is turned away towards the iaginary s#ace behind the balcony.
(ur illustration gi!es us a general idea of Correggio@s decorati!e ethod. The
huan body was his aterialO his #atterns were wo!en of nude figures, #osed in e!ery
#ossible attitude. E!ery figure is in otion, and the whole ultitude #al#itates with the
joy of li!ing.
2II
ST! 1OHN THE BAPTIST
+n one of the #endenti!es of the cu#ola in the Para Cathedral is the figure of 9t.
:ohn the Ba#tist re#roduced in our illustration. The background is ade to reseble
soewhat the interior of a shell. (n billows of clouds sits the #ro#het, with a lab in his
ars, and a circle of angels #laying about hi.
9t. :ohn the Ba#tist was a cousin of :esus, and the first to recogniQe the true
character of the car#enter@s son. *hile :esus was still li!ing in obscurity in <aQareth,
:ohn went forth to #reach in the wilderness about the ri!er :ordan. His anner of life was
!ery singular. He Nhad his raient of cael@s hair and a leathern girdle about his loinsO
and his eat was locusts and wild honey.N2.M7
2.M7 9t. Matthew, cha#ter iii., !erse 5.
The #reacher was stern in denouncing sin and in warning e!il$doers of the wrath
to coe. The burden of all his serons was, N,e#ent, for the kingdo of hea!en is at
hand.N *hen the #eo#le asked hi what they ought to do, his answers were full of
coon sense. NHe that hath two coats, let hi i#art to hi that hath noneO and he that
hath eat, let hi do likewise.N To the taA$collectors, he said, NEAact no ore than that
which is a##ointed youON to the soldiers, N-o !iolence to no an, neither accuse any
falsely.N 2./7
2./7 9t. %uke, cha#ter iii.
The authorities sent fro :erusale to Euestion the clais of the strange #reacherO
but his re#ly was in the words of the old Hebrew #ro#het, N+ a the !oice of one crying
in the wilderness.N2607
2607 9t. :ohn, cha#ter i., !erse .6.
+t was the custo of :ohn to ba#tiQe his con!erts in the ri!er :ordan. (ne day
:esus #resented hiself for ba#tis, and :ohn saw in hi one whose shoe@s latchet he
was not worthy to unloose. 't once he #roclaied hi to the #eo#le as the N%ab of God
who taketh away the sins of the world.N2647
2647+b., !erse ./.
*ith the entrance of :esus u#on his inistry, :ohn@s work was fulfilled. NHe ust
increase, but + ust decrease,N said the #ro#het hubly.26.7 He was soon after cast into
#rison by =ing Herod, whose !ices he had o#enly rebuked. Thence he was taken out only
to be eAecuted.
26.7 9t. :ohn, cha#ter iii., !erse 60.
+t ust be confessed that Correggio cared !ery little about aking a true character
study of 9t. :ohn. There is not uch in the figure of our #endenti!e to suggest the stern
and fearless #ro#het of the wilderness. The huility of the countenance is #erha#s the
feature ost a##ro#riate to the character. The shy, haunting eA#ression in the eyes is, too,
such as belongs to one who, like 9t. :ohn, li!ed uch alone in the woods. The tunic is
short and slee!eless, showing the strong libs of the herit.
hCiagesCiageB01/B4.j#g$,EP%'CEBME 9T. :(H< THE B'PT+9T
Cathedral, Para
)or the rest, the Ba#tist@s face has the sae gentle aiability we ha!e already seen
in 9t. Matthew and :ose#h. The ty#e is a coon one with Correggio. ' certain
reseblance runs through nearly all his ale figures, whether of sooth$faced youth,
bearded anhood, or hoary old age.
The tenderness of 9t. :ohn for his little lab is the chief oti!e of the #icture. He
carries it on his left ar, su##orting the weight on his knee, and the innocent creature
#uts its nose close to the #ro#het@s face. The lab is the acce#ted sybol of 9t. :ohn the
Ba#tist, in allusion to the words with which he addressed :esus at the :ordan, NBehold the
lab of God.N The sae figure is used in the book of ,e!elation, where the %ab is
described Nin the idst of the throne.N 9tanding for the #erson of Christ hiself, 9t. :ohn
holds the sacred eble with re!erence. To understand why his face is lifted in this
direction we ust reeber that his glance is directed toward the !ision in the doe just
abo!e.
The angel figures of this #endenti!e are aong the ost beautiful and
characteristic of the yriad throng of the cu#ola. The i#ression ade by this great s#irit
co#any u#on one standing beneath the doe has been described in soe lines by
'ubrey de >ere&P
NCreatures all eyes and brows and tresses streaing,
By s#eed di!ine blown backO within all fire
(f wondering Qeal, and stor of bright desire.
,ound the broad doe the iortal throngs are beaing,
*ith eleental #owers the !ault is teeingO
*e gaQe, and gaQing join the fer!id choir,
+n s#irit launched on wings that ne@er can tire.N
*hile the s#irits in the u##er #art of the cu#ola are assed so closely together
that we do not see the full beauty of each one, these in our #icture ay be studied
se#arately. There are siA in all, and their #ur#ose is to call the attention of the worshi##ers
to the #ro#het. The two in the rear, whose bodies are hidden in the clouds, gaQe u#on hi
adoringly. (ne on each side #oints with outstretched finger to the lab, as if re#eating
the Ba#tist@s words, NBehold the lab of God.N The angel astride the cloud in front was
interru#ted in the sae task by a little fellow suddenly shooting out fro the clouds
beneath hi. He #eers into the o#ening at one side, but still lifts his left hand towards the
#ro#het abo!e hi.
The siA figures are arranged in a seicircle, and their slender libs and lithe
bodies trace rhythic lines of grace. The ost charing of the co#any is #erha#s he at
the right, whose eyes eet ours with a bewitching sile.
2III
CHRIST APPEARING TO MAR MAGDALENE IN THE GARDEN
.No0i &e ta3(ere/
+t was 9unday, the third day after the crucifiAion of :esus. Early in the orning,
while it was yet dark, a young woan ade her way to the rock$hewn tob in the garden
of :ose#h of 'riathea. +t was Mary Magdalene, who :esus had rescued fro a life of
sin. Much had been forgi!en her, therefore she lo!ed uch. +n her sorrow she cae to
!isit the s#ot where the body of her crucified Master had been laid.
Great was her sur#rise to find that the stone #laced at the entrance of the tob had
been rolled away. +n her #er#leAity, she ran to tell the disci#les Peter and :ohn. They all
hurried back together to the garden, and the two en, entering the tob, found it e#ty.
;nable to eA#lain the ystery, they #resently returned hoe, lea!ing Mary still standing
without the se#ulchre wee#ing.
N'nd as she we#t, she stoo#ed down, and looked into the se#ulchre, and seeth two
angels in white sitting, the one at the head, and the other at the feet, where the body of
:esus had lain. 'nd they say unto her, *oan, why wee#est thouU 9he saith unto the,
Because they ha!e taken away y %ord, and + know not where they ha!e laid hi.
N'nd when she had thus said, she turned herself back, and saw :esus standing,
and knew not that it was :esus. :esus saith unto her, *oan, why wee#est thouU who
seekest thouU 9he, su##osing hi to be the gardener, saith unto hi, 9ir, if thou ha!e
borne hi hence, tell e where thou hast laid hi, and + will take hi away. :esus saith
unto her, Mary. 9he turned herself, and saith unto hi, ,abboniO which is to say, Master.
N:esus saith unto her, Touch e notO for + a not yet ascended to y )ather& but
go to y brethren, and say unto the, + ascend unto y )ather, and your )atherO and to
y God, and your God.N2667
2667 Cha#ter AA. of the Gos#el according to 9t. :ohn, !erses 44$4I.
(ur #icture illustrates the story of that first Easter orning. :esus has greeted
Mary by nae, and she has instantly recogniQed the Master. 9inking on her knees, she
would ha!e i#ulsi!ely stretched out her hands to hi, but he re#els her with a gesture.
'we$struck, she gaQes into his face, while he eA#lains the essage she is to carry to the
disci#les.
hCiagesCiageB0IJB4.j#g$,EP%'CEBME CH,+9T 'PPE',+<G T( M',"
M'G-'%E<E +< THE G',-E< F<(%+ ME T'<GE,EG
Prado Gallery, Madrid
The risen %ord is clad in but one garent, a hea!y antle, knotted at the waist.
The u##er #art is sli##ing fro his shoulders, lea!ing the torso bare. The beauty of the
for reinds us of a Greek statue. (n the ground beside hi are soe garden tools, a
hoe and a s#ade, and beyond these lies a straw hat. These things eA#lain why Mary,
blinded and confused with wee#ing, su##osed that it was the gardener who s#oke to her.
The Master@s attitude and gesture e#hasiQe the eaning of his words. The body
sways slightly to one side, as if shrinking fro Mary@s touch. He still holds his right hand
outstretched, as when he said NTouch e not.N 'nd now he raises his left ar, and
#ointing hea!enward declares that he is about to ascend to his )ather. He sees to s#eak
gently as to a child, and looks down into Mary@s face with a sile.
The young woan is richly arrayed in a brocade dress, cut so as to show her
beautiful neck and ars. ' ass of wa!y golden hair falls o!er her shoulders and u#on
her boso. Her ta#ering wrists and delicate hands indicate gentle blood, but her features
are soewhat hea!y, and the face would not attract us by its beauty. The ra#t eA#ression
of de!otion is what akes it interesting. The whole attitude eA#resses co#lete self$
forgetfulness.
The lithe and youthful figure of Christ recalls the boy we saw in a forer #icture
journeying fro Egy#t. *e can see that this is the an into who that child is grown. *e
note again the high full forehead o!er which the #arted hair is brushed in cur!es. 'gain,
too, we see the sall outh with the gentle sile. The figure in general features
resebles the Christ ty#e which is illustrated in the #icture of Ecce Hoo.
+n #ainting the figure of the risen Christ, the old asters were accustoed to gi!e
#roinence to the nail #rints in hands and feet, and the wound in his side. Correggio has
not done this. 9uch signs of suffering were inconsistent with the joyous nature of his art.
The subject of the #icture is entirely a ha##y one, and he has ke#t out of it all e!idences
of the crucifiAion, e#hasiQing rather the idea of the ascension.
+n soe artistic #oints our #icture resebles the Madonna della 9codella. The
#ose of Christ is siilar to that of :ose#h, with one ar lifted u#, and the other reaching
down. Thus is fored the diagonal line which is at the basis of the co#osition. The right
ar of Mary carries the line on to the lower corner of the #icture.
The landsca#e setting akes a s#acious background, and a large tree behind
Christ throws his figure into relief.
2I-
THE MADONNA OF ST! 1EROME
.I0 Gior3o/
+t is a bright clear day, and a baby boy is ha!ing a rare frolic out of doors, on his
other@s knee. +t is the little Christ$child, and his !isitors are 9t. :eroe and Mary
Magdalene. (!erhead a red cloth dra#ery has been stretched fro tree to tree, aking a
sort of cano#y to #rotect the co#any fro the direct rays of the sun. 9t. :eroe has
brought as an offering the books which re#resent the scholarly toil of any years. Mary
Magdalene has her jar of ointent for the anointing of the 9a!iour@s feet.
The other sits on a slight ele!ation in the centre, her bare foot resting on the
ground. 9t. :eroe stands in front, a little at one side, where he can hold a book directly
before the child@s face. Mary Magdalene, half kneeling on the other side, stoo#s to caress
a little foot. The sturdy old father sees to ha!e coe directly fro his onastery in
Bethlehe, and his lion follows hi like a faithful dog. The old legend relates that as he
sat one e!ening at his onastery gate, a lion a##roached, holding u# a #aw which was
#ierced with a thorn. The good father reo!ed the thorn and dressed the wound, and the
grateful beast becae thenceforth the constant co#anion of his benefactor.
The scroll in 9t. :eroe@s right hand ay be any one of his any treatises or
translations. The large o#en !olue is undoubtedly his %atin !ersion of the Bible. (ne
side of the book is su##orted on his left hand, while the other is held by an attendant
angel, who turns the #ages for the Christ$child. There is soething !ery interesting on the
#age now o#en, and the angel #oints a slender finger to a #articular #assage. The child is
wrought u# to the highest #itch of eAciteent. He stretches out his legs and ars, his
whole body stiffening in a treor of joy. He fairly #ants with eagerness for the treasure
just beyond his gras#. Though not a #retty boy, he is so full of life that we find hi !ery
ca#ti!ating.
(ld 9t. :eroe looks iensely #leased with the child@s delight. The angel
#layfellow is delighted with his success in ausing the baby, and laughs sy#athetically
with hi. The other siles with gentle indulgence, and holds hi firly lest he s#ring
fro her ars. Mary Magdalene a##ears alost unconscious of what is going on. Her
whole being is absorbed in lo!ing de!otion. 9he has caught one little foot lightly by the
heel, and, drawing it towards her, lays her cheek against the soft knee. Her hair is
unbound, and falls in long tresses o!er her neck. +n throwing out his ars, the child@s left
hand has fallen on the golden head, and here it rests as if he returned the caress. +n the
ean tie a ischie!ous urchin, who ay be the boy Ba#tist, holds the Magdalene@s jar
of ointent. He stands behind her like a sall lackey, and sniffs curiously at the contents
of the #ot.
hCiagesCiageB0M4B4.j#g$,EP%'CEBME THE M'-(<<' () 9T. :E,(ME
Para Gallery
+f it sees strange that 9t. :eroe and Mary Magdalene should be here together,
we ust reeber that the #ainters of Correggio@s tie did not try to re#resent sacred
scenes with historical accuracy. +t was custoary to bring together in a #icture #ersons
who li!ed in altogether different #eriods and countries. The eaning of such #ictures was
sybolic. The Christians of all ages constitute a counion of the saints who eet at the
Christ$child@s feet.
The two saints here ake a fine artistic contrast,Pthe rugged and griQQled old
an, and the lo!ely golden$haired aiden. The s#lendid uscular strength of the one is
offset against the radiant beauty of the other. +n a de!otional sense also the contrast is
ost a##ro#riate. 9t. :eroe has ser!ed the Christ with great #owers of intellectO Mary
Magdalene brings only a woan@s lo!ing heart. The one has written great booksO the
other could do nothing but anoint the 9a!iour@s feet. "et the two kinds of ser!ice are
eEually i#ortant. 9t. :eroe@s translations ha!e carried the gos#el o!er the world, and it
is written that N*heresoe!er this gos#el shall be #reached in the whole world, there shall
also this, that this woan hath done, be told for a eorial of her.N2657
2657 9t. Matthew, cha#ter AA!i., !erse 46.
The co#osition of the #icture is on a diagonal #lan siilar to that which we ha!e
already noticed in his #ictures. 26J7 The structural line ay be traced fro the to# of 9t.
:eroe@s head across the shoulders and back of Mary Magdalene. The edge of the cano#y
o!erhead e#hasiQes this line by following the sae general direction. The child@s figure
behind the Magdalene balances the figure of the lion in the left corner.
26J7 9ee cha#ters +K. and K+++.
The landsca#e which lies beyond the cano#y is an i#ortant and beautiful #art of
the #icture. *ithout this s#acious distance in the background the large figures filling the
foreground would crowd the co#osition un#leasantly. +t is a relief to the eye to tra!erse
this stretch of sunny country.
The #icture akes it #ossible for us to understand why Correggio has been called
a #ainter of Nlight and s#ace and otion.N 'll three characteristics are adirably
illustrated here. +n color, too, the original #ainting is !ery fine. The >irgin wears the usual
red robe and blue antle, the colors denoting lo!e and constancy. 9t. :eroe has a blue
dra#ery about the hi#s and a crison antle, while the angel@s tunic and Mary
Magdalene@s antle are yellow.
+t is the clear golden atos#here flooding the scene which gi!es it the +talian
nae of N+l Giorno,N The -ay.
2-
CUPID SHARPENING HIS ARROWS
.Detai0 of Da3a4/
+n the iagination of the ancient Greeks all huan lo!e was ins#ired by the
goddess '#hrodite, >enus, aided by her son, the little archer Cu#id. +t was Cu#id@s office
to shoot the arrows of affection. Being a ischie!ous fellow, he took delight in aiing
his shafts at the unsus#ecting. (ften his !ictis were so oddly chosen that it seeed as if
the arksan had shot at rando. 9oe belie!ed that he did his work blindfolded.
The #oets describe Cu#id as a beautiful winged boy carrying a bow and a Eui!er
of arrows, and soeties a torch. He flew at will through the wide uni!erse, but he lo!ed
best the island of Cy#rus, which was his other@s first hoe. NHis head has goodly curls,N
wrote Moschus,2617 Nbut i#udent is the face he wearsO his little hands are tiny, @tis true,
yet they shoot far.... 9all is his arrow, yet it carries e!en to the sky.... He is naked
indeed, so far as his body is concerned, but his ind is shrouded. 'nd being winged as a
bird he flies u#on now one #arty of en and woen and now another, and settles on their
inost hearts.N
2617 +n the first idyl, translated by :. Bank.
The ingled #ain and delight caused by a wound of lo!e is eA#lained by the fact
that Cu#id@s arrows were ti##ed with gall and honey. The way in which they were
fashioned is !ariously described by the #oets. 'nacreon has it that they were ade at the
forge of >ulcan, the husband of >enus, and the blacksith of the gods. (ne of this #oet@s
odes relates howP
N+n the %enian ca!es of fire
The ate of her who nursed -esire
Moulded the glowing steel to for
'rrows for Cu#id thrilling warO
*hile >enus e!ery barb ibues
*ith dro##ings of her honeyed dewsO
'nd %o!e Falas the !icti heartG
Tinges with gall the burning dart.N26I7
26I7 +n Moore@s translation.
' slightly different eA#lanation is gi!en by the %atin #oet Claudian&P
N+n Cy#rus@ isle two ri##ling fountains fall
'nd one with honey flows, and one with gallO
+n these, if we ay take the tale fro fae,
The son of >enus di#s his darts of flae.N
Howe!er the story ay run, there is but one ending. The !icti of the lo!e$god@s
arrow confesses that Nlo!ing is a #ainful thrill,N but Nnot to lo!e, ore #ainful still.N
hCiagesCiageB0MIB4.j#g$,EP%'CEBME C;P+- 9H',PE<+<G H+9 ',,(*9
F-ET'+% () -'<'VG
Borghese Gallery, ,oe
9o bold was the little archer that the ightiest could not withstand his arts. The
war$god Mars, bringing his s#ear one day to >ulcan@s forge, siled conte#tuously at the
light shafts of Cu#id. NTry it,N said little %o!e, handing hi one. *hereu#on the foolish
fellow cried out in an agony of #ain, and begged Cu#id to take the arrow back. '#ollo,
the archer of the sun, was eEually i#rudent, and was richly #unished for his sneers. 'n
arrow fro the fatal Eui!er ade hi ad with unreEuited lo!e for the ny#h -a#hne. '
being who could gi!e so uch #ain and #leasure was at once to be lo!ed and feared.
Hence all #aid hoageP
NTo %o!e, for hea!en and earth adore hi
'nd gods and ortals bow before hi.N
+n our #icture, Cu#id looks just as the #oets ha!e described hi, a beautiful baby
boy with wings and Ngoodly curls.N (nly the ilk and honey of Cy#rus could ha!e ade
the little body so #lu#. ' dee# crease arks the line of his wrist, a soft fold of flesh the
neck. The full Eui!er lies on the table beside hi, and he is shar#ening one of the darts.
26M7 ' little co#anion hel#s hi hold the whetstone steady while he #resses the arrow
ti# u#on its surface. 9oe lines of Horace coe to ind describingP
NCu#id shar#ening all his fiery darts
;#on a whetstone stained with blood of hearts.N
26M7 >asari says that Cu#id is trying the arrow on a stone.
Cu#id@s co#anion is as like hi as a twin, sa!e that he has no wings. He ay be
a huan #layfellow of the little god, or one of the brood of lo!es with which the #oets
ha!e #eo#led Cy#rus. *hile the original yth told of only one Cu#id, iagination has
ulti#lied his kind. *e read of the N#layful rout of Cu#idsN attendant u#on the lo!e$god,
who rules as so!ereign aong the.
The two children of the #icture are intent u#on their task. The !ery seriousness of
their anner argues soe ischief in !iew. E!idently they are #re#aring for a great
conEuest. The arrow ust not fail of its work, but ust be shar# enough to carry the
sweet #oison straight to the !icti@s heart.
Both of the chubby fellows ha!e rather large heads with clustering ringlets. The
wingless boy has the high, full forehead which arks an acti!e ind. Cu#id sees to
ha!e the ore energetic te#eraent of the two, while his corade is a bit of a dreaer.
(ur #icture is a charing illustration of Correggio@s lo!e of children. 's it was
not the fashion of his tie to #aint children@s #ortraits, he had to ake his own
o##ortunities for the fa!orite subject. How ingenious he was we ha!e had occasion to see
in our study. *hen gi!en a sacred subject to #aint he filled all the a!ailable s#aces with
child angels s#orting in the clouds. *ith the ceiling of a roo to decorate, he co!ered the
whole surface with a band of little boys at #lay.
(ur re#roduction is a detail of a larger #icture illustrating the yth of -anaL. The
two little figures are in the lower right corner of the can!as.
2-I
A SUPPOSED PORTRAIT OF CORREGGIO
'lost e!ery celebrated #ainter has at soe tie in his life sat for his #ortrait.
Many ha!e #ainted their own likenesses, not so uch fro oti!es of !anity, but as a
atter of artistic interest. (thers ha!e #osed as odels to their fellow #ainters.
Correggio was an eAce#tion in this regard. The old biogra#her >asari ade any
efforts to #rocure a #ortrait, and concluded that Nhe ne!er took it hiself, nor e!er had it
taken by others, seeing that he li!ed uch in retireent.N
(ur #ainter, as we ha!e seen, was not a student of the face. )or and eA#ression
did not greatly interest hi. He busied hiself chiefly with #robles of light and shade.
This is #erha#s the reason why he ne!er thought it worth while to #aint his #ortrait. He
was not a tra!eller, and #robably ne!er !isited any of the great art centres of his tie. 9o
he ade no friends aong the conte#orary #ainters who would ha!e been likely to
ake his #ortrait. +n any case his busy life left little tie for any work for hiself, and if
he thought at all of a #ortrait, he doubtless #ost#oned it to soe ore con!enient season.
*aiting for such a tie, his career was brought suddenly to an end. He died of fe!er in
Correggio at the age of forty.
+n the #assing centuries one #icture after another has been #ut forward as a
#retended #ortrait of Correggio. The #ainter@s adirers were always eager to belie!e that
a real likeness had at last been disco!ered. Though we cannot rely u#on the genuineness
of any of these, soe are !ery interesting.
9uch an one is our frontis#iece, fro a #ainting in the Para Gallery, #ointed out
as Correggio@s #ortrait. *hoe!er the original ay ha!e been, the eA#ression is certainly
aniated and intelligent. There is uch huor and kindliness in the face. The unknown
artist should ha!e the credit for the gift of re!ealing the indi!idual character of his sitter.
%acking an authentic #ortrait of the an Correggio, we ha!e to content oursel!es
with the short account of his character gi!en by >asari. NHe was a #erson,N writes the
biogra#her, Nwho held hiself in but slight estee, nor could he e!er #ersuade hiself
that he knew anything satisfactorily res#ecting his artO #ercei!ing its difficulties, he could
not gi!e hiself credit for a##roaching the #erfection to which he would so fain ha!e
seen it carriedO he was a an who contented hiself with !ery little, and always li!ed in
the anner of a good Christian.N
PRONOUNCING -OCABULAR OF PROPER NAMES AND FOREIGN
WORDS
E2PLANATION OF DIACRITICAL MAR"S!
' -ash FWG abo!e the !owel denotes the long sound, as in fXte, Y!e, tZe, n[te,
\se.
' -ash and a -ot F$G abo!e the !owel denote the sae sound, less #rolonged.
' Cur!e F]G abo!e the !owel denotes the short sound, as in ^dd, _nd, `ll, add, b#.
' -ot F G abo!e the !owel a denotes the obscure sound of a in #ast, abXte,
'_rica.
' -ouble -ot FcG abo!e the !owel a denotes the broad sound of a in fdther, dls.
' -ouble -ot F..G below the !owel a denotes the sound of a in ball.
' *a!e FeG abo!e the !owel e denotes the sound of e in h r.
' CircufleA 'ccent FfG abo!e the !owel o denotes the sound of o in bgrn.
' dot F.G below the !owel u denotes the sound of u in the )rench language.
n indicates that the #receding !owel has the )rench nasal tone.
g and k denote the guttural sound of ch in the Geran language.
t# denotes the sound of th in the, this.
h sounds like s.
csounds like k.
ssounds like Q.
gis hard as in get.
gis soft as in ge.
'llegri Fdl$lX@grYG.
'ltius caeteris -ei #atefecit arcana Fdl@t $ 9PEC+'%B+M'GE$
www.gutenberg.orgCfilesC4/456C4/456$hCiagesCdB6.j#g$,EP%'CEBME s kZ@tX$
r s dX@Y #d$tX$fX@$k`t dr$kd@ndG.
'brose F^@br[QG.
'nacreon F^n$^k@r $anG.
'ntonio Fdn$t[@nY$[G.
'#ollo Fa$#alil[G.
'#hrodite F^f$r $dZ@tYG.
'rteis Fdr@tY$`sG.
'riathea Fjr$`$a$thYiaG.
'thena F^$thY@n G.
'ugustine Fa@gbs$tYnG.
'urora Fa$r[@r G.
'ustin Fas@t`nG.
Bayliss, *yke Fw`k bX@l`sG.
Bethlehe FB_th@lYh_G.
Berenson FbX@r_n$sanG.
Blashfield Fbl^sh@fYldG.
Burckhardt Fb 9PEC+'%B+M'GE$www.gutenberg.orgCfilesC4/456C4/456$
hCiagesCdB..j#g$,EP%'CEBME rk@hdrtG.
Caesar FsY@Q rG.
candelabru Fk^n$d $lX@brbG.
Carthage Fkdr@thXjG.
Catherine Fk^th@_r$`nG.
CaAton Fk^ks@tbnG.
Ca!aliere Fkd$!d$lY$X@raG.
chiaroscuro Fkyd$r $sk 9PEC+'%B+M'GE$
www.gutenberg.orgCfilesC4/456C4/456$hCiagesCdB..j#g$,EP%'CEBME @r G.
Cicerone FchY$chX$r[@naG.
Claudian Fcla@d`$anG.
Correggio Fkar$r_d@j[G.
Costus Fkas@tbsG.
Cous Fk[@bsG.
Cu#id FC\@#`dG.
Cy#rus FsZ@#rbsG.
-alatian Fd^l$X@sh nG.
-anaL FdX@nX$YG.
-a#hne Fd^f@nYG.
-iana FdZ$^n@ or dZ$X@n G.
Ecce Hoo F_k@k_ or _k@s h[@[G.
Egy#t FY@j`#tG.
Endyion F_n$d`@`$bnG.
E#hesus F_f@ $sbsG.
EQekiel FY$QY@k`$_lG.
Galilee Fg^l@`$lYG.
Giorno, +l FYl jgr@n[G.
Gio!anni E!angelista Fj[$!dn@nYX$!dn$jX$lYs@tdG.
Guido ,eni FgwY@d[ rX@nYG.
HaQlitt FH^Q@l`ttG.
Heilige <acht FhZ@l g$b nd ktG.
Heaton FhY@tbnG.
Herod FH_r@adG.
Hes#erus FH_s@# rbsG.
Hi##o FH`#@#[G.
Horace Fhgr@XsG.
+gne gladio ne fodias F g@n_ gld@$d $[ nX f[@d $dsG.
+srael F`Q@rX$_lG.
:aeson FjX@_$sbnG.
:eroe FjY$r[@ or j_r@aG.
:erusale F:_r\@sal_G.
:ordan F:gr@d nG.
:udaea Fj\$dY@aG.
=eats FkYtsG.
=ugler Fk[[g@l rG.
%ayard F%Xy@ rdG.
%enian F%_@n` nG.
Madonna FM dan@n G.
Magdalene FM^g@dX$lYnG.
Marcella Fdr$s_l@ G.
Matthew F^@th\G.
Mater -olorosa FX@t r dal$ $r[@s or d@tXr d[$l[$r[@sdG.
MaAentius F^ks$_n@sh`$bsG.
Mars FMdrsG.
Meyer FZ@ rG.
Michelangelo FY$k_l$dn@jX$l[G.
Milan F`l@an or `$l^n@G.
Monica FMan@`c G.
Moore F[r or 9PEC+'%B+M'GE$
www.gutenberg.orgCfilesC4/456C4/456$hCiagesCdB..j#g$,EP%'CEBME rG.
Moschus Fas@kbsG.
Morelli F[$r_l@ G.
<aQareth F<^Q@ar_thG.
<icodeus Fn`k$[$dY@bsG.
<oli e tangere Fn[@l X tdn@gX$raor n[@lZ Y t^n@j_$r G.
<otte, %a Fld n[t@tXG.
<uidia F<\`d@` G.
Palestine FP^l@_stZneG.
Paolo FPd@[l[G.
Para FPdr@dG.
Patos FP^t@asG.
Paula F#a@l G.
Pharisee Ff^r@`$sYG.
PiacenQa F#Y$d$ch_n@dQdG.
Plato FPlX@t[G.
Pontius Pilate F#an@sh`$bs #`@lXtG.
#utti F# 9PEC+'%B+M'GE$www.gutenberg.orgCfilesC4/456C4/456$
hCiagesCdB..j#g$,EP%'CEBME t@tYG.
,abboni F,^bb[@n`G.
,a#hael Frd@fX$_lG.
,eA ,egu FrXks rX@g 9PEC+'%B+M'GE$
www.gutenberg.orgCfilesC4/456C4/456$hCiagesCdB..j#g$,EP%'CEBME G.
,icci, Corrado Fk[r$rd@d[ rYt@chYG.
,uskin F,bs@k`nG.
9ala del Pergolato Fsd@ld d_l #air$g[$ld@t[G.
9ci#ione Montino FshY$#Y$[@na[n$tY@n[G.
9codella Fsk[$d_l@ldG.
9ebastian Fs $b^st@y nG.
9ionds Fs`@bndQG.
9yonds Fs`@bndQG.
9yria Fs`r@`$ G.
Te -eu FtX dX@ 9PEC+'%B+M'GE$www.gutenberg.orgCfilesC4/456C4/456$
hCiagesCdB6.j#g$,EP%'CEBME or tY dY@bG.
Titan FtZ@t nG.
Titian Ft`sh@ nG.
;brian Fb@br`$ nG.
>asari F!d$sd@rYG.
>enus F>Y@nbsG.
>ere, 'ubrey de Faa@br` dY !YrG.
>ulcan F>bl@c nG.
>ulgate F>bl@gXteG.
*ordsworth Fw rdQ@w rthG.
Tebedee FT_b@_dYYG.
End of the Project Gutenberg EBook of Correggio, by Estelle M. Hurll
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Correggio by Estelle M. Hurll

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