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;TEiswanathan, and the

(nline -istributed Proofreading Tea at htt#&??www.#gd#.net

Transcriber@s


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9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesiage0044.j#g$EP%'CEME ' 9;PP(9E- P(T'+T ()C(EGG+(

Para Gallery

Please click on the iage for a larger iage.Masterpieces of Art

CORREGGIO

A COLLECTION OF FIFTEEN PICTURESAND A SUPPOSED PORTRAIT OF THEPAINTER, WITH INTRODUCTION

AND INTERPRETATION

BESTELLE M! HURLL

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BOSTON AND NEW OR"HOUGHTON MIFFLIN COMPANT#e Ri$ersi%e Press Ca&'ri%(e)*+)

C(P"+GHT, 4/04, B" H(;GHT(


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Picture 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 ThisCollectionAi+>.(utline Table of the Princi#al E!ents +n Correggio@s %ifeAiii>.%ist ofConte#orary PaintersAi!+.The Holy .Ceiling -ecoration in the 9ala -el Pergolato FHall of the >ineTrellis4/Picture fro Photogra#h by )ratelli 'linari>.-ianaJPicture fro Photogra#hby )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 inwater color by P. Toschi+K.The est on the eturn )ro Egy#t FMadonna -ella9codella5/Picture fro Photogra#h by )ratelli 'linariK.Ecce HooJJPicture froCarbon Print by Braun, Clent D Co.K+.'#ostles and Genii14Picture fro Photogra#hby )ratelli 'linari of the #ainting in water color by P. ToschiK++.9t. :ohn theBa#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.The Madonna of 9t.:eroeI/Picture fro Carbon Print by Braun, Clent D Co.K>.Cu#id 9har#ening His'rrows F-etail of -anaLJPicture fro Photogra#h by )ratelli 'linariK>+.' 9u##osedPortrait of Correggio/4Pronouncing >ocabulary of Pro#er


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247 Tradition says that the te#eraent of the an hiself was eAactly there!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 reuired of her #sychically. He took no thought e!en to akeher beautiful& the tribute he offered her was the technical eAcellence of his art,theeAuisite color with which he #ainted flesh and dra#ery, the odulations of light #layingo!er cheek and neck. *ith hair and hands he took es#ecial #ains, and these features oftenredee otherwise unattracti!e figures.

+n his #redilection for ha##y subjects Correggio reinds us of a#hael. The twoen shrank eually fro the #ainful. But where the ;brian@s ideal of ha##iness wastranuil and serene, Correggio@s was eAuberant and ecstatic. a#hael indeed was alostGreek 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 euilibriu, he unwittinglyga!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 soeoentary attitude caught in the idst of action. +n this characteristic the #ainter wasallied to Michelangelo, the keynote of whose art is action.

+t is a curious fact that two artists of such o##osed naturesthe one so light$hearted, the other burdened with the #ro#het@s s#iritshould ha!e so uch in coon intheir decorati!e ethods. Both understood the decorati!e !alue of the nude, and foundtheir 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 #ointof design Correggio cannot be co#ared with Michelangelo. He was utterly inca#able ofthe swee#ing lines characteristic of the great )lorentine. He seldo achie!ed any successin 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 tochoose his own subjects. %iited, as he was, in his ost i#ortant coissions, to thewell$worn cycle of ecclesiastical thees, he could not work out all the #ossibilities of hisgenius.


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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 shouldread 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#hyay be entioned neAt, as an authoritati!e work, #ractically alone in the field for soetwenty$fi!e years. This was translated fro the Geran by M. C. Heaton, and #ublishedin %ondon in 4I1. )inally, the recent biogra#hy by 9ignor Corrado icci Ftranslatedfro the +talian by )lorence 9ionds, and #ublished in 4/1 ay be consideredalost definiti!e. +t is issued in a single large !olue, #rofusely illustrated. The author isthe director of the galleries of Para, and has had e!ery o##ortunity for the study ofCorreggio@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@sNEarly +talian Painters,N re!ised by Estelle M. Hurll.

)or a critical estiate of the art of Correggio a cha#ter in Burckhardt@s NCiceroneNis interesting reading, but the book is out of #rint and a!ailable only in large libraries. +nN+talian Cities,N by E. H. and E. *. Blashfield, a delightful cha#ter on Para describesCorreggio@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@sworks. The author@s re#udiation of the authenticity of the eading Magdalen of the-resden Gallery has been acce#ted by all subseuent writers.

Coents on Correggio are found in 9yonds@s !olue on NThe )ine 'rtsN inthe series NThe enaissance in +taly,N and are also scattered through the #ages of uskin@sNModern PaintersN and HaQlitt@s NEssays on the )ine 'rts.N The !olue on Correggio inthe series NGreat Masters in Painting and 9cul#tureN is !aluable chiefly for a co#lete listof 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


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5 and J. Ceiling -ecoration, and -iana, in the 9ala del Pergolata, Con!ent of 9.Paolo, Para. )rescoes #ainted in 4J4.

1, I, and . 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 4J0$4JJ.

/. The est on the eturn fro Egy#t. F %a Madonna della 9codella. 'ccording

to Pungileoni #ainted 4JI$4JO according to icci, 4J/$4J60. The frae containingthe #icture is su##osed to ha!e been designed by Correggio hiself. +t bears the date4J60, when the #icture was #laced in the church of 9. 9e#olcro, Para. Taken as )renchbooty in 4I/1, but returned to Para in 441. . 'fter #assing throughany hands it cae in 46 into the #ossession of the Borghese faily, and is now in theBorghese Gallery, oe. 9iQe of whole #icture, J ft. 5 in. by 1 ft. J in.I-! OUTLINE TABLE OF THE PRINCIPAL E-ENTS IN CORREGGIOS LIFE!

Co#iled fro icci@s Correggio, to which the references to #ages a##ly.45/5. 'ntonio 'llegri born at Correggio.4J44$4J46. Probably in Mantua F#. 1/.4J4J. Madonna of 9t. )rancis F#. /5.4J4. +n Para eAecuting the frescoes of 9an Paolo, '#ril$-eceber F#. 4J.4J0. +n!itation to Para fro the Benedictines F#. 4J6. Marriage with Girolaa

Merlini F#. 4J.4J0$4JJ. 't work on frescoes of 9. Gio!anni E!angelista, Para, with

interru#tions as noted below F##. 4/$4/J.:uly, 4J4$9#ring, 4J. +n Correggio F##. 4/5, 4/J, and #robable eAecution of

the Ecce Hoo, Christ in Garden, and isit to eggio and coission for the


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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 ofsacred subjects to be hung o!er the altars of churches. The choice of subjects was uchore 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 wasthat of the Madonna and Child. Madonna is the word, eaning literally My %ady, used bythe +talians when s#eaking of Mary, the other of :esus. The Madonna and Child is thena #icture of the other Mary holding the Christ$child.

(ur illustration is fro such a #icture called N%a


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to try to #icture her in iagination. 's her character was a odel of woanliness, it isnatural to belie!e her face corres#ondingly beautiful. The old asters s#ent their li!es inseeking an ideal worthy of the subject, and each one concei!ed her according to his ownstandards of beauty. Correggio@s chief care was for the hair and hands, which he #ainted,as we see here, with eAuisite 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


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beginning of the third century,N and Nhad to his wife a ueen like to hiself in !irtuousgo!ernance.N Though good #eo#le according to their light, they were #agans andworshi##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 anoutline 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 Nshedrank #lenteously of the well of wisdo.N Her father was so delighted with her #recocitythat 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 befound. 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 ueen was crowned with great solenity.Then arose a coittee of lords and coons, #etitioning her to allow the to seeksoe noble knight or #rince to arry her and defend the kingdo.


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o##osite directions. N'nd anon as this blessed !irgin was set in this torent, the angel ofthe %ord brake the wheels by so great force that it slew four thousand #aynis.NMaAentius then coanded that she should be beheaded, and 9t. Catherine wentcheerfully 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 acuireall 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 uiet enjoyent asshe reads. There is little in the face to suggest the scholar or the bookwor. *ere this aodern #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 ancientwriters who 9t. Catherine could uote so readily. *e need not wonder that she does notknit 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 ostfreuently associated with 9t. Catherine, as the reinder of the tortures inflicted byMaAentius. The #al branch caught in the fingers of the left hand is the sybol usedalike for all the artyrs. The reference is to that #assage in the book of e!elation whichdescribes 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 hisiagination, and he has concei!ed an ideal figure for her character. The eAuisite o!al ofthe face, the delicate features, and the beautiful hair ake this one of the ost attracti!efaces in his works.

The light falls o!er the right shoulder, casting one side of the face in shadow. Theodulations of light on the chin and neck, and the gradation in the shadow cast by thebook on the hand, show Correggio@s astery of chiaroscuro.

IIITHE 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 firresol!e not to arry. Her counsellors argued that, as she was endowed with certainualities abo!e all creatures, she ought to arry and transit these gifts to #osterity. Theattributes they enuerated were, first, that she cae of the ost noble blood in the worldOsecond, 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 ueen re#lied that she would arry only one who #ossessedcorres#onding ualities. NHe ust be,N she said, Nso noble that all en shall do hi


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eble. 'nother eble is the sword, whose hilt #rojects fro behind the wheel. Thiswas the instruent of her eAecution.

9#ecial #roinence is gi!en in the #icture to three sets of hands. The skill withwhich 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 theN)lesh and bone and ner!e that akeThe #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 beautifulhands we see here.

217Beside the -rawing Board.

9t. 9ebastian is a figure not to be o!erlooked. *e ay find his like aong thegenii of the Para Cathedral, which we are to study. He is a joyous being to who it isgood erely to be ali!e. The elfin locks falling about his face ake hi look like soecreature of the woods. *e are reinded ost of the faun of the Greek ythology. Thearrows in his hand suggest soe syl!an s#ort, but in reality they are the eble of hisartyrdo. '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 candiscern 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 gruesoesubjects 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. Paul in Para was in chargeof 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 entirelyabsorb her. 9he still retained soe social connections and was a #atroness of art andculture. The daughter of a noblean, she was a #erson of conseuence, whose #ri!atea#artents were such as a #rincess ight ha!e. 'lready a well known #ainter of the dayhad decorated one of her roos when she heard of the rising artist Correggio. Probablyad!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 suareceiling 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


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centre contains the faily ars of the abbess, a shield on which three crescent oons areset diagonally. )ro this centre, as fro the hub of a wheel, a series of gilded ribs radiatetowards the sides, cutting the whole s#ace into triangular sections whose surfaces areslightly hollowed. The o!al windows of the trellis o#en in these sections, one in eachtriangle, 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 ofthe design, where the ceiling joins the walls, is finished by a series of siAteen lunettes orseicircles running around the suare, one in each section. The frieQe around the sidewalls siulates a narrow scarf caught u# in festoons between ornaented ca#itals foredof ras@ heads. The reaining decoration of the roo is on the ca# of the chiney, andre#resents the goddess -iana setting forth for the chase.

This #icture furnishes the subject of the children@s gaes in the lattice bower. Thelittle s#rites are attendants of the goddess, #laying in a iic hunt. Two or three ay beseen through e!ery window, busy and ha##y in their innocent s#ort. (ne is the delighted#ossessor of a ui!er of arrows, fro which he draws a shaft. (thers #lay with thehounds, #ulling the hither and thither at their will. ' grou# of fi!e find the hunting$horn

an ausing #laything, and good$huoredly stri!e together o!er the treasure.9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesiage044.j#g$EP%'CEME CE+%+


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Glance ra#idly along the clouded hea!en*hen winds are blowing.N27

27 +n The EAcursion.

There were other #leasant beliefs about -iana such as ight be connected withthe thought of the oon. 's the oonlight cheers the tra!eller on his way and enters thechaber of the sick and lonely, so -iana was said to watch with the sick and hel# theunfortunate. The #ale, white light of the oon is a natural sybol of #urity, hence -ianawas a aiden goddess abo!e all allureents of lo!e. Her worshi# was conducted withs#lendid rites in !arious ancient cities. The te#le built in her honor at E#hesus wasfaous 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, whodelighted 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 acrossthe 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 Guidoeni@s 'urora.

NHow treulous$daQQlingly the wheels swee#'round their aAle.N

Her ui!er, well filled with the bow and arrows, hangs at her back, held by thestra# bound o!er her breast. 2447 The crescent oon gleas abo!e her brow. The !ehicleis 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 ui!er the subject should be called by soeN-iana@s eturn fro the Chase.N

9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesiage0I4.j#g$EP%'CEME -+'


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Please click on the iage for a larger iage.Please click here for a odern color iageThe 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 [email protected] +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 handshe #oints forward, as if calling us to join in the s#ort. +n the swiftness of her otion herunbound hair and fily garents blow out behind her.

9he is a country$bred aiden, with #lu# neck and round ars, and her chiefchar is her buoyant !itality. Her o#en face, with eyes set rather far a#art, is the indeA ofher nature. Her free life in the woods has de!elo#ed a well #oised woanhood. )ear isunknown to herO #ain and disease coe not near her. ejoicing in iortal youth andstrength, 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. *eay 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 thesword.

+t will be reebered that the ars of the abbess, for who the roo wasdecorated, bore the de!ice of the crescent oon. This fact ay ha!e suggested toCorreggio, 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 ofculture, ha!ing been recently brought to notice in the re!i!al of classic learning. +n +talythey furnished thees for the #ainterO in England, for the #oet. The English Ben :onson,li!ing a half a century later than Correggio,247 but re#resenting in a certain easure thesae lo!e of classic allusion, wrote a NHyn to -iana,N which ight ha!e been ins#iredby this #icture. The first stanQa ay be uoted for its inter#retation&NSueen and huntress, chaste and fair,


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on the sea of Galilee. +t was while they were busy with their nets that :esus one daycalled the two brothers to be fishers of en. N'nd they straightway left their nets andfollowed hi.N2467

2467 9t. Matthew, cha#ter i!., !erse 0.

;nder the teachings of :esus, :ohn grew in knowledge of s#iritual things. He wasone of the three acco#anying their Master to the Mount of Transfiguration, where theywitnessed 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 beyondhis hearers, :ohn treasured the sayings in his eory. (n the e!ening when :esus sat attable with his disci#les for the last tie, :ohn was near hi, leaning on his Master@sbreast. *hen, on the neAt day, :esus hung u#on the cross, it was :ohn to who hecoended his other as to a son. N'nd fro that hour that disci#le took her unto hisown 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 anycon!erts to the faith. He then carried the work into 'sia Minor, where he founded se!enchurches. '


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one of the four )athers of the Church. The Christian )athers were the en whose writingsand teachings sha#ed the doctrines of the faith in the early centuries of our era. Theyinter#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 twosit 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 inthe lunette we ha!e studied. There is a boyish eagerness in his anner. The syboliceagle is beside hi, #ee#ing out fro the folds of the dra#ery. 9t. 'ugustine is ahandsoe old an with finely cut features. To understand how well the figure fits hischaracter, 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. :aesongi!es a condensed account of the life in 9acred and %egendary 'rt, #. 606.

He was born in


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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 arguentslowly, iitating 9t. :ohn@s gesture with hesitating hands. *hat sees so clear to theeager young teacher reuires 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 twoearnest 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 ofthe arches. They are wingless s#rites, #layful as huan children, but with a grace andbeauty not of earth. Two see to be eerging fro a hiding$#lace in the clouds, and gailyhail their corade on the arch abo!e. The lo!ely s#rite on the o##osite arch is thinking ofother things, and looks o!er his shoulder across the church. The tiny fellow in charge ofthe 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.

-IIIST! MATTHEW AND ST! 1EROME

The a#ostle Matthew was e#loyed as a taA$gatherer in :erusale when hebecae 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 followedhi.N24I7 9oon after, the new disci#le ade a great feast for the Master, scandaliQing thescribes and Pharisees by in!iting guests of doubtful re#utation. Matthew, howe!er, hadrightly judged the s#irit of :esus, who had coe Nnot to call the righteous, but sinners tore#entance.N Throughout the inistry of :esus, Matthew reained a faithful disci#le, butwithout distinguishing hiself in any way. E!idently he had a thoughtful ind and agood eory. +n his Gos#el he re#orted !ery fully the 9eron on the Mount and anyof the #arables.

24I7 9t. %uke, cha#ter !., !erse .

(ne of the #endenti!es of the cu#ola in the church of 9. Gio!anni E!angelista isde!oted to 9t. Matthew in co#any with 9t. :eroe. The E!angelist turns fro the o#enGos#el before hi to s#eak to 9t. :eroe, who is occu#ied with his writing. ' wingedcherub, 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 thischaring figure that the old asters re#resented the face of Na an,N that is, the huanface, in the Nli!ing creatureN of EQekiel@s !ision. 247 The sybol is a##ro#riately a##liedto the first E!angelist because his Gos#el e#hasiQes the huanity of :esus.

247 9ee also #ages 65, 6J.

The token of 9t. :eroe@s identity is the cardinal@s hat, held by an angel on thearch beside hi. The two !olues on his la#, in addition to the scroll u#on which he isengaged, show how busy has been the #en of this learned )ather. 's the old chronicler


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'll this charing by$#lay gi!es the i#ression of a co#any of li!ing s#iritsfrolicking aong the arches of the church. NHa!e Correggio@s #utti207 grown u# yet andwalked out of their fraesUN the #ainter, Guido eni, used to ask, referring with uainthuor to the wonderful lifelikeness of such child figures. 9o, looking at these angels, wehalf 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.

207 +talian for Nboys.N

I2THE 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 thattie 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.NThe news of :esus@ birth had been first brought to =ing Herod by the wise en ofthe East, who cae in search of the new$born king whose star they had seen. The idea ofa 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 BethleheNfro two years old and under.N

*hile this terrible slaughter was going on, the Holy )aily were aking theirway to the strange land of refuge. Here they li!ed, awaiting hea!enly guidance for theirreturn. 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 theland of +sraelO for they are dead which sought the young child@s life. 'nd he arose, andtook the young child and his other, and cae into the land of +srael.N 247

247 The uotations are fro 9t. Matthew, cha#ter ii.

This is all the E!angelist tells us of what was doubtless an eAciting, #erha#s e!ena #erilous ad!enture. *e ay su##ose both journeys to ha!e been ade by donkeys, thecoon beasts of burden in Eastern countries. The young other and child ustcertainly ha!e had to ride. 's for :ose#h, he was a sturdy an, and ay well ha!ewalkedO in those days tra!elling was a atter of tie. ;nused to luAuries, these si#lefolk 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 thewoods. '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 seatedherself 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 whoseoutstretched hand he now takes the fruit. 't the sae tie he is thirsty, and leaning backtowards his other, he turns and throws an ar o!er her shoulder, asking for a drink ofwater. 9he has a round basin For scodella which the faily use as a drinking$cu#, and the


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child #oints to it with a coaAing sile, resting his hand on her wrist.

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glooy and isolated. +t is an i#ortant #rinci#le of art to re#resent no enclosed #lacewithout a gli#se of light in the background.

2ECCE HOMO

The old Hebrew #ro#het who wrote of the coing Messiah #redicted that heshould be Ndes#ised and rejected of en, a an of sorrows, and acuainted with grief.NHow fully the #ro#hecy was realiQed, we ay read in the narrati!e of the trial andcrucifiAion of :esus.

The eneies of :esus had to deal with their #risoner according to the forality ofthe oan law. They brought hi to the oan go!ernor, Pontius Pilate, accusing hiof N#er!erting the nation, and forbidding to gi!e tribute to Caesar, saying that he hiselfis Christ, a king.N27 The go!ernor duly eAained :esus, but, finding no case againsthi, #ro#osed to scourge hi and let hi go.

27 9t. %uke, cha#ter AAiii., !erse .

NThen Pilate therefore took :esus and scourged hi. 'nd the soldiers #latted acrown 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 nofault in hi.

NThen cae :esus forth, wearing the crown of thorns, and the #ur#le robe. 'ndPilate saith unto the, Behold the anR *hen the chief #riests therefore and officers sawhi, they cried out, saying Crucify hi, Crucify hi.N267 Pilate again sought to release:esus, but the #eo#le continued to claor, N'way with hi,N NCrucify hi.N NThendeli!ered he hi therefore unto the to be crucified.N 257

267 9t. :ohn, cha#ter AiA., !erses 4$1.257+b., !erse 41.

The %atin for of Pilate@s words, NBehold the an,N has gi!en the title NEcceHooN to our #icture. +t is the oent when :esus coes forth fro the rude ockery ofthe soldiers, clad in a royal robe, and wearing the crown of thorns. The go!ernor hasbidden one of the soldiers lead the #risoner out on a balcony of the #alace. 'n eagerthrong of #eo#le are waiting outside, but they are not all eneies. 'ong the are a fewfaithful woen, and they are allowed to #ress close to the balcony. 't the sight of herson, treated as a criinal with bound hands, the other, Mary, falls swooning o!er thebalustrade, su##orted by a younger woan.

Pilate standing in the doorway behind a##eals to the crowd& N+ find no fault inhi. Behold the an.N He has been dee#ly i#ressed by his inter!iew with :esus, and iswilling to do soething in his behalf. His face is good$natured, we see, but with nostrength of character in it. He is a handsoe an with curling beard carefully tried,a##arently not a hard an to deal with, but easy$going and selfish.

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eA#ression. To ake u#, as it were, for this, the hands are brought into #roinent notice,and are !ery beautiful.

2IAPOSTLES AND GENII

The glory of Para is the Cathedral, which re#resents the labors of anycenturies. The building itself was begun in 40J, and co#leted in the thirteenth century.The interior was beautified by a succession of artists, one of who was our #ainterCorreggio. His work here was the decoration of the cu#ola, and he began it iediatelyu#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 inthe u##er air. Below the doe runs a cornice, or frieQe, in eight sections, filled withfigures 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 thefour #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 thehea!enly s#aces. NThey are u#on e!ery side, bending, tossing, floating, and di!ingthrough the clouds, ho!ering abo!e the abysal !oid that is between the doe and theearth below it.N 2I7 *onderful indeed is the triu#h of the #ainter@s art in this #lace.Ne!erse the cu#ola and fill it with gold, and e!en that will not re#resent its worth,N saidTitian.

2I7 E. H. Blashfield in +talian Cities.

(ur illustration shows a #ortion of the octagonal cornice. The design is asiulated balcony ornaented with tall candelabra. +n front stand the a#ostles grou#ed intwos 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 stalwartlibs. They are of iddle age, hea!ily bearded, and all look uch alike. +t would bei#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 figuresare 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 aresoewhat eAtra!agant and self$conscious. The dra#ery, too, is rather fantastic, flungabout their figures, lea!ing ars and legs bare. *ere the #icture taken out of itssurroundings it would scarcely suggest a Christian subject. These colossal beings are likeTitans o!ing through the figures of a sacred dance, and ururing the ysticincantations of soe heathen rite.

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But we ust not #ress our inter#retation too far. The #anel should be studied forits decorati!e uality 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 thedirection 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 ofsanctity for hea!enly habitants. "et they are far too ethereal for ortals.


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and his eat was locusts and wild honey.N27

27 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, Ne#ent, for the kingdo of hea!en is athand.N *hen the #eo#le asked hi what they ought to do, his answers were full ofcoon sense. NHe that hath two coats, let hi i#art to hi that hath noneO and he thathath eat, let hi do likewise.N To the taA$collectors, he said, NEAact no ore than thatwhich is a##ointed youON to the soldiers, N-o !iolence to no an, neither accuse anyfalsely.N 2/7

2/7 9t. %uke, cha#ter iii.

The authorities sent fro :erusale to uestion the clais of the strange #reacherObut his re#ly was in the words of the old Hebrew #ro#het, N+ a the !oice of one crying

in the wilderness.N26072607 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 hewas not worthy to unloose. 't once he #roclaied hi to the #eo#le as the N%ab of Godwho 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 ustincrease, but + ust decrease,N said the #ro#het hubly.267 He was soon after cast into#rison by =ing Herod, whose !ices he had o#enly rebuked. Thence he was taken out onlyto be eAecuted.

267 9t. :ohn, cha#ter iii., !erse 60.

+t ust be confessed that Correggio cared !ery little about aking a true characterstudy of 9t. :ohn. There is not uch in the figure of our #endenti!e to suggest the sternand fearless #ro#het of the wilderness. The huility of the countenance is #erha#s thefeature 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 isshort and slee!eless, showing the strong libs of the herit.

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Cathedral, Para


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)or the rest, the Ba#tist@s face has the sae gentle aiability we ha!e already seenin 9t. Matthew and :ose#h. The ty#e is a coon one with Correggio. ' certainreseblance 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. Hecarries 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 theBa#tist, in allusion to the words with which he addressed :esus at the :ordan, NBehold thelab of God.N The sae figure is used in the book of e!elation, where the %ab isdescribed Nin the idst of the throne.N 9tanding for the #erson of Christ hiself, 9t. :ohnholds the sacred eble with re!erence. To understand why his face is lifted in thisdirection we ust reeber that his glance is directed toward the !ision in the doe justabo!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#iritco#any u#on one standing beneath the doe has been described in soe lines by'ubrey de >ere&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 togetherthat we do not see the full beauty of each one, these in our #icture ay be studiedse#arately. There are siA in all, and their #ur#ose is to call the attention of the worshi##ersto the #ro#het. The two in the rear, whose bodies are hidden in the clouds, gaQe u#on hiadoringly. (ne on each side #oints with outstretched finger to the lab, as if re#eatingthe Ba#tist@s words, NBehold the lab of God.N The angel astride the cloud in front wasinterru#ted in the sae task by a little fellow suddenly shooting out fro the cloudsbeneath 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 lithebodies trace rhythic lines of grace. The ost charing of the co#any is #erha#s he atthe right, whose eyes eet ours with a bewitching sile.

2IIICHRIST 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


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of :ose#h of 'riathea. +t was Mary Magdalene, who :esus had rescued fro a life ofsin. 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 hadbeen 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 standingwithout the se#ulchre wee#ing.

N'nd as she we#t, she stoo#ed down, and looked into the se#ulchre, and seeth twoangels 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 whoseekest thouU 9he, su##osing hi to be the gardener, saith unto hi, 9ir, if thou ha!eborne 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& butgo to y brethren, and say unto the, + ascend unto y )ather, and your )atherO and toy 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 greetedMary by nae, and she has instantly recogniQed the Master. 9inking on her knees, shewould 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 thedisci#les.

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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#onher boso. Her ta#ering wrists and delicate hands indicate gentle blood, but her featuresare 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. *enote 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 featuresresebles 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 hasnot 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 reachingdown. Thus is fored the diagonal line which is at the basis of the co#osition. The rightar 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 behindChrist 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 hisother@s knee. +t is the little Christ$child, and his !isitors are 9t. :eroe and MaryMagdalene. (!erhead a red cloth dra#ery has been stretched fro tree to tree, aking asort of cano#y to #rotect the co#any fro the direct rays of the sun. 9t. :eroe hasbrought as an offering the books which re#resent the scholarly toil of any years. MaryMagdalene 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 theground. 9t. :eroe stands in front, a little at one side, where he can hold a book directlybefore the child@s face. Mary Magdalene, half kneeling on the other side, stoo#s to caressa little foot. The sturdy old father sees to ha!e coe directly fro his onastery inBethlehe, and his lion follows hi like a faithful dog. The old legend relates that as hesat 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 thegrateful 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 ortranslations. The large o#en !olue is undoubtedly his %atin !ersion of the Bible. (neside of the book is su##orted on his left hand, while the other is held by an attendantangel, 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


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wrought u# to the highest #itch of eAciteent. He stretches out his legs and ars, hiswhole body stiffening in a treor of joy. He fairly #ants with eagerness for the treasurejust beyond his gras#. Though not a #retty boy, he is so full of life that we find hi !eryca#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#atheticallywith hi. The other siles with gentle indulgence, and holds hi firly lest he s#ringfro her ars. Mary Magdalene a##ears alost unconscious of what is going on. Herwhole being is absorbed in lo!ing de!otion. 9he has caught one little foot lightly by theheel, and, drawing it towards her, lays her cheek against the soft knee. Her hair isunbound, and falls in long tresses o!er her neck. +n throwing out his ars, the child@s lefthand has fallen on the golden head, and here it rests as if he returned the caress. +n theean tie a ischie!ous urchin, who ay be the boy Ba#tist, holds the Magdalene@s jarof ointent. He stands behind her like a sall lackey, and sniffs curiously at the contentsof the #ot.

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26J7 9ee cha#ters +K. and K+++.

The landsca#e which lies beyond the cano#y is an i#ortant and beautiful #art ofthe #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!ersethis 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 adirablyillustrated here. +n color, too, the original #ainting is !ery fine. The >irgin wears the usualred robe and blue antle, the colors denoting lo!e and constancy. 9t. :eroe has a bluedra#ery about the hi#s and a crison antle, while the angel@s tunic and MaryMagdalene@s antle are yellow.

+t is the clear golden atos#here flooding the scene which gi!es it the +taliannae 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 thegoddess '#hrodite, >enus, aided by her son, the little archer Cu#id. +t was Cu#id@s officeto shoot the arrows of affection. Being a ischie!ous fellow, he took delight in aiinghis shafts at the unsus#ecting. (ften his !ictis were so oddly chosen that it seeed as ifthe 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 ui!erof arrows, and soeties a torch. He flew at will through the wide uni!erse, but he lo!edbest the island of Cy#rus, which was his other@s first hoe. NHis head has goodly curls,Nwrote 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 nakedindeed, so far as his body is concerned, but his ind is shrouded. 'nd being winged as abird he flies u#on now one #arty of en and woen and now another, and settles on theirinost 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 factthat Cu#id@s arrows were ti##ed with gall and honey. The way in which they werefashioned is !ariously described by the #oets. 'nacreon has it that they were ade at theforge of >ulcan, the husband of >enus, and the blacksith of the gods. (ne of this #oet@sodes relates howN+n the %enian ca!es of fireThe ate of her who nursed -esireMoulded the glowing steel to for'rrows for Cu#id thrilling warO*hile >enus e!ery barb ibues*ith dro##ings of her honeyed dewsO


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'nd %o!e Falas the !icti heartTinges with gall the burning dart.N26I7

26I7 +n Moore@s translation.

' slightly different eA#lanation is gi!en by the %atin #oet Claudian&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@sarrow confesses that Nlo!ing is a #ainful thrill,N but Nnot to lo!e, ore #ainful still.N

9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesiage0I4.j#g$EP%'CEME C;P+- 9H'PE


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267 >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 bea huan #layfellow of the little god, or one of the brood of lo!es with which the #oetsha!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 greatconuest. The arrow ust not fail of its work, but ust be shar# enough to carry thesweet #oison straight to the !icti@s heart.

Both of the chubby fellows ha!e rather large heads with clustering ringlets. Thewingless boy has the high, full forehead which arks an acti!e ind. Cu#id sees toha!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 wasnot 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 seein our study. *hen gi!en a sacred subject to #aint he filled all the a!ailable s#aces withchild angels s#orting in the clouds. *ith the ceiling of a roo to decorate, he co!ered thewhole surface with a band of little boys at #lay.

(ur re#roduction is a detail of a larger #icture illustrating the yth of -anaL. Thetwo little figures are in the lower right corner of the can!as.

2-IA 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 aatter 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 anyefforts to #rocure a #ortrait, and concluded that Nhe ne!er took it hiself, nor e!er had ittaken 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#ressiondid 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. Hewas not a tra!eller, and #robably ne!er !isited any of the great art centres of his tie. 9ohe ade no friends aong the conte#orary #ainters who would ha!e been likely toake his #ortrait. +n any case his busy life left little tie for any work for hiself, and ifhe 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 inCorreggio 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 thata real likeness had at last been disco!ered. Though we cannot rely u#on the genuinenessof any of these, soe are !ery interesting.

9uch an one is our frontis#iece, fro a #ainting in the Para Gallery, #ointed outas Correggio@s #ortrait. *hoe!er the original ay ha!e been, the eA#ression is certainly


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aniated and intelligent. There is uch huor and kindliness in the face. The unknownartist 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!eswith the short account of his character gi!en by >asari. NHe was a #erson,N writes thebiogra#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 couldnot gi!e hiself credit for a##roaching the #erfection to which he would so fain ha!eseen it carriedO he was a an who contented hiself with !ery little, and always li!ed inthe anner of a good Christian.N

PRONOUNCING -OCABULAR OF PROPER NAMES AND FOREIGNWORDSE2PLANATION OF DIACRITICAL MAR"S!

' -ash FW abo!e the !owel denotes the long sound, as in fXte, Y!e, tZe, n[te,\se.

' -ash and a -ot F$ abo!e the !owel denote the sae sound, less #rolonged.

' Cur!e F] abo!e the !owel denotes the short sound, as in ^dd, _nd, `ll, dd, #.' -ot F abo!e the !owel a denotes the obscure sound of a in #ast, abXte, '_rica.

' -ouble -ot F abo!e the !owel a denotes the broad sound of a in fther, ls.' -ouble -ot F.. below the !owel a denotes the sound of a in ball. ' *a!e F abo!e the !owel e denotes the sound of e in h r.' CircufleA 'ccent F abo!e the !owel o denotes the sound of o in brn.' dot F. 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. sounds like s.csounds like k. ssounds like Q. gis hard as in get. gis soft as in ge.

'llegri Fl$lX@grY.'ltius caeteris -ei #atefecit arcana Fl@t $ 9PEC+'%+M'GE$

www.gutenberg.orgfiles4/4564/456$hiagesd6.j#g$EP%'CEME s kZ@tX$r s dX@Y #$tX$fX@$k`t r$k@n.

'brose F^@br[Q.'nacreon F^n$^k@r $n.'ntonio Fn$t[@nY$[.'#ollo Fa$#ll[.'#hrodite F^f$r $dZ@tY.'rteis Fr@tY$`s.'riathea Fr$`$a$thYa. 'thena F^$thY@n .'ugustine Fa@gs$tYn.


38/54

'urora Fa$r[@r . 'ustin Fas@t`n. Bayliss, *yke Fw`k bX@l`s.Bethlehe FB_th@lYh_.Berenson FbX@r_n$sn.

Blashfield Fbl^[email protected] Fb 9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesd.j#g$EP%'CEME rk@hrt.

Caesar FsY@Q r.candelabru Fk^n$d [email protected] [email protected] Fk^th@_r$`n.CaAton Fk^[email protected]!aliere [email protected] Fky$r $sk 9PEC+'%+M'GE$

www.gutenberg.orgfiles4/4564/456$hiagesd.j#g$EP%'CEME @r .

Cicerone FchY$chX$r[@na.

Claudian Fcla@d`$an. Correggio Fkr$r_d@j[.Costus [email protected] Fk[@s.Cu#id FC\@#`d.Cy#rus FsZ@#rs.-alatian Fd^l$X@sh n.-anaL FdX@nX$Y.-a#hne Fd^[email protected] FdZ$^n@ or dZ$X@n . Ecce Hoo F_k@k_ or _k@s h[@[.Egy#t FY@j`#t.Endyion F_n$d`@`$n.E#hesus F_f@ $ss.EQekiel FY$QY@k`$_l.Galilee Fg^l@`$lY.Giorno, +l FYl jr@n[.Gio!anni E!angelista Fj[$!n@nYX$!n$jX$lYs@t. Guido eni FgwY@d[ [email protected] FH^Q@l`tt.Heilige


39/54

:eroe FjY$r[@ or j_r@.:erusale F:_r\@sal_.:ordan F:r@d n.:udaea Fj\$dY@a. =eats FkYts.

=ugler Fk[[g@l r.%ayard F%Xy@ rd.%enian F%_@n` n.Madonna FM dn@n . Magdalene FM^g@dX$lYn. Marcella Fr$s_l@ .Matthew F^@th\.Mater -olorosa FX@t r dl$ $r[@s or @tXr d[$l[$r[@s. MaAentius F^ks$_n@sh`$s.Mars FMrs.Meyer FZ@ r.

Michelangelo FY$k_l$n@jX$l[.

Milan F`l@an or `$l^[email protected] FMn@`c .Moore F[r or 9PEC+'%+M'GE$

www.gutenberg.orgfiles4/4564/456$hiagesd.j#g$EP%'CEME r.Moschus [email protected] F[$r_l@ .


40/54

9ci#ione Montino FshY$#Y$[@na[n$tY@n[.9codella Fsk[[email protected] Fs $b^st@y n. 9ionds Fs`@ndQ.9yonds Fs`@ndQ.

9yria Fs`r@ $ .Te -eu FtX dX@ 9PEC+'%+M'GE$www.gutenberg.orgfiles4/4564/456$hiagesd6.j#g$EP%'CEME or tY dY@.

Titan FtZ@t n.Titian Ft`sh@ n.;brian F@br`$ n.>asari F!$s@rY.>enus F>Y@ns.>ere, 'ubrey de Faa@br` dY !Yr. >ulcan F>l@c n.>ulgate F>l@gXte.

*ordsworth Fw rdQ@w rth. ebedee F_b@_dYY.

End of the Project Gutenberg EBook of Correggio, by Estelle M. Hurll

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Correggio by Estelle M. Hurll