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| author | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:55:02 -0700 |
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| committer | Roger Frank <rfrank@pglaf.org> | 2025-10-15 04:55:02 -0700 |
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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..6833f05 --- /dev/null +++ b/.gitattributes @@ -0,0 +1,3 @@ +* text=auto +*.txt text +*.md text diff --git a/19143-0.txt b/19143-0.txt new file mode 100644 index 0000000..7da43e4 --- /dev/null +++ b/19143-0.txt @@ -0,0 +1,2872 @@ +The Project Gutenberg EBook of Correggio, by Estelle M. Hurll + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Correggio + A Collection Of Fifteen Pictures And A Portrait Of The + Painter With Introduction And Interpretation + +Author: Estelle M. Hurll + +Illustrator: Correggio + +Release Date: August 29, 2006 [EBook #19143] + +Language: English + +Character set encoding: UTF-8 + +*** START OF THIS PROJECT GUTENBERG EBOOK CORREGGIO *** + + + + +Produced by Juliet Sutherland, Sankar Viswanathan, and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + [Illustration: A SUPPOSED PORTRAIT OF CORREGGIO + _Parma Gallery_] + + + _Masterpieces of Art_ + + + + CORREGGIO + + A COLLECTION OF FIFTEEN PICTURES + AND A SUPPOSED PORTRAIT OF THE + PAINTER, WITH INTRODUCTION + AND INTERPRETATION + + + BY + + + ESTELLE M. HURLL + + + + + + BOSTON AND NEW YORK + HOUGHTON MIFFLIN COMPANY + The Riverside Press Cambridge + 1901 + + + COPYRIGHT, 1901, BY HOUGHTON, MIFFLIN & CO. + + * * * * * + + + + +PREFACE + + +To the general public the works of Correggio are much less familiar +than those of other Italian painters. Parma lies outside the route of +the ordinary tourist, and the treasures of its gallery and churches +are still unsuspected by many. It is hoped that this little collection +of pictures may arouse a new interest in the great Emilian. The +selections are about equally divided between the frescoes of Parma and +the easel paintings scattered through the various European galleries. + +ESTELLE M. HURLL. + +NEW BEDFORD, MASS. + +_December, 1901._ + + * * * * * + + + + +CONTENTS AND LIST OF PICTURES + + + A SUPPOSED PORTRAIT OF CORREGGIO (_Frontispiece_) + Picture from Photograph of the original painting + + INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST + +II. ON BOOKS OF REFERENCE + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE + +V. LIST OF CONTEMPORARY PAINTERS + +I. THE HOLY NIGHT (DETAIL) + Picture from Carbon Print by Braun, Clément & Co. + +II. _St. Catherine Reading_ + Picture from Photograph by Francis Ellis and W. Hayward, London + +III. THE MARRIAGE OF ST. CATHERINE + Picture from Carbon Print by Braun, Clément & Co. + +IV. CEILING DECORATION IN THE SALA DEL PERGOLATO (HALL OF THE VINE + TRELLIS) + Picture from Photograph by Fratelli Alinari + +V. DIANA + Picture from Photograph by Fratelli Alinari + +VI. ST. JOHN THE EVANGELIST + Picture from Photograph by Fratelli Alinari + +VII. ST. JOHN AND ST. AUGUSTINE + Picture from Photograph by D. Anderson + +VIII. ST. MATTHEW AND ST. JEROME + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +IX. THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) + Picture from Photograph by Fratelli Alinari + +X. ECCE HOMO + Picture from Carbon Print by Braun, Clément & Co. + +XI. APOSTLES AND GENII + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +XII. ST. JOHN THE BAPTIST + Picture from Photograph by Fratelli Alinari of the painting + in water color by P. Toschi + +XIII. CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) + Picture from Carbon Print by Braun, Clément & Co. + +XIV. THE MADONNA OF ST. JEROME + Picture from Carbon Print by Braun, Clément & Co. + +XV. CUPID SHARPENING HIS ARROWS (DETAIL OF DANAË) + Picture from Photograph by Fratelli Alinari + +XVI. A SUPPOSED PORTRAIT OF CORREGGIO + + PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + + * * * * * + + + + +INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST. + + +The art of Correggio was very justly summed up by his first +biographer, Vasari. After pointing out that in the matter of drawing +and composition the artist would scarcely have won a reputation, the +writer goes on to say: "To Correggio belongs the great praise of +having attained the highest point of perfection in coloring, whether +his works were executed in oil or in fresco." In another place he +writes, "No artist has handled the colors more effectually than +himself, nor has any painted with a more charming manner or given a +more perfect relief to his figures." Color and chiaroscuro were +undoubtedly, as Vasari indicates, the two features of his art in which +Correggio achieved his highest triumphs, and if some others had +equalled or even surpassed him in the first point, none before him had +ever solved so completely the problems of light and shadow. + +Not only did he understand how to throw the separate figures of the +picture into relief, giving them actual bodily existence, but he +mastered as well the disposition of light and shade in the whole +composition. To quote Burckhardt, "In Correggio first, chiaroscuro +becomes essential to the general expression of a pictorially combined +whole; the stream of lights and reflections gives exactly the right +expression to the special moment in nature." + +The quality of Correggio's artistic temperament was essentially +joyous.[1] The beings of his creation delight in life and movement; +their faces are wreathed with perpetual smiles. Hence childhood and +youth were the painter's favorite subjects. The subtleties of +character study did not interest him; and for this reason he failed in +representing old age. He was perhaps at his best among that race of +sprites which his own imagination invented, creatures without a sense +of responsibility, glad merely to be alive. + +[Footnote 1: Tradition says that the temperament of the man himself +was exactly the reverse of that of the artist, being timid and +melancholy.] + +This temperament explains why the artist contented himself with so +little variety in his types. We need not wonder at the monotony of the +Madonna's face. She is happy, and this is all the painter required of +her psychically. He took no thought even to make her beautiful: the +tribute he offered her was the technical excellence of his art,--the +exquisite color with which he painted flesh and drapery, the +modulations of light playing over cheek and neck. With hair and hands +he took especial pains, and these features often redeem otherwise +unattractive figures. + +In his predilection for happy subjects Correggio reminds us of +Raphael. The two men shrank equally from the painful. But where the +Umbrian's ideal of happiness was tranquil and serene, Correggio's was +exuberant and ecstatic. Raphael indeed was almost Greek in his sense +of repose, while Correggio had a passion for motion. "He divines, +knows and paints the finest movements of nervous life," says +Burckhardt. + +Even when he sought to portray a figure in stable equilibrium, he +unwittingly gave it a wavering pose; witness the insecurity of Joseph +in the Madonna della Scodella, and of St. Jerome in the Madonna +bearing his name. Usually he preferred some momentary attitude caught +in the midst of action. In this characteristic the painter was allied +to Michelangelo, the keynote of whose art is action. + +It is a curious fact that two artists of such opposed natures--the one +so light-hearted, the other burdened with the prophet's spirit--should +have so much in common in their decorative methods. Both understood +the decorative value of the nude, and found their supreme delight in +bodily motion. In a common zeal for exploiting the manifold +possibilities of the human figure, the two fell into similar errors of +exaggeration. In point of design Correggio cannot be compared with +Michelangelo. He was utterly incapable of the sweeping lines +characteristic of the great Florentine. He seldom achieved any success +in the flow of drapery, and often his disposition of folds is very +clumsy. + +It is interesting to fancy what Correggio's art might have been had he +been free to choose his own subjects. Limited, as he was, in his most +important commissions, to the well-worn cycle of ecclesiastical +themes, he could not work out all the possibilities of his genius. +Nevertheless, he infused into the old themes an altogether new spirit, +the spirit of his own individuality. It is a spirit which we call +distinctly modern, yet it is as old as paganism. + +Among the works of the old Italian masters, Correggio's art is so +anomalous that it has inevitably called forth detractors. What to his +admirers is mere childlike sweetness is condemned as "sentimentality," +innocent playfulness as "frivolity," exuberance of vitality as +"sensuality." Certainly there is nothing didactic in his art. "Space +and light and motion were what Antonio Allegri of Correggio most +longed to express,"[2] and to these aims he subordinated all motives +of spiritual significance. One of his severest critics (Burckhardt) +has conceded that "he is the first to represent entirely and +completely the reality of genuine nature." He, then, who is a lover of +genuine nature in her most subtle beauties of "space and light and +motion," cannot fail to delight in Correggio. + +[Footnote 2: E. H. Blashfield in Italian Cities.] + + +II. ON BOOKS OF REFERENCE. + +The first biographer of Correggio was Vasari, in whose "Lives of the +Painters, Sculptors, and Architects" is included a brief account of +this painter. The student should read this work in the last edition +annotated by E. H. and E. W. Blashfield and A. A. Hopkins. Passing +over the studies of the intervening critics, Julius Meyer's biography +may be mentioned next, as an authoritative work, practically alone in +the field for some twenty-five years. This was translated from the +German by M. C. Heaton, and published in London in 1876. Finally, the +recent biography by Signor Corrado Ricci (translated from the Italian +by Florence Simmonds, and published in 1896) may be considered almost +definitive. It is issued in a single large volume, profusely +illustrated. The author is the director of the galleries of Parma, and +has had every opportunity for the study of Correggio's works and the +examination of documents bearing upon his life. + +General handbooks of Italian art giving sketches of Correggio's life +and work are Kugler's "Handbook of the Italian Schools," revised by A. +H. Layard, and Mrs. Jameson's "Early Italian Painters," revised by +Estelle M. Hurll. + +For a critical estimate of the art of Correggio a chapter in +Burckhardt's "Cicerone" is interesting reading, but the book is out of +print and available only in large libraries. In "Italian Cities," by +E. H. and E. W. Blashfield, a delightful chapter on Parma describes +Correggio's works and analyzes his art methods. Morelli's "Italian +Painters" contains in various places some exceedingly important +contributions to the criticism of Correggio's works. The author's +repudiation of the authenticity of the Reading Magdalen of the Dresden +Gallery has been accepted by all subsequent writers. + +Comments on Correggio are found in Symonds's volume on "The Fine Arts" +in the series "The Renaissance in Italy," and are also scattered +through the pages of Ruskin's "Modern Painters" and Hazlitt's "Essays +on the Fine Arts." The volume on Correggio in the series "Great +Masters in Painting and Sculpture" is valuable chiefly for a complete +list of Correggio's works. The text is based on Ricci.[3] + +[Footnote 3: As this book goes to press Bernard Berenson's "The Study +and Criticism of Italian Art" makes its appearance. A portion of it is +devoted to the study of Correggio.] + + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION. + +_Portrait frontispiece._ From a photograph of an alleged portrait of +Correggio in the Parma Gallery. + +1. _The Holy Night._(_La Notte._) (Detail.) Painted at the order of +Alberto Pratoneri for the altar of his chapel in the church of S. +Prospero, Reggio. Agreement signed October 10, 1522. Stolen from the +church May, 1640, and taken to Modena. Now in the Dresden Gallery. +Size of whole picture: 8 ft. 5 in. by 6 ft. 2 in. + +2. _St. Catherine Reading._ Conjectural date, 1526-1528. In Hampton +Court Gallery. Size: 2 ft. 1 in. by 1 ft. 8 in. + +3. _The Marriage of St. Catherine._ Date, according to Meyer, +1517-1519; according to Ricci, after 1522. Painted for the Grillenzoni +family of Modena. After several transfers it came into the possession +of Cardinal Mazarin, from whose heirs it was acquired for Louis XIV.'s +collection and hence became a permanent possession of the Louvre +Gallery, Paris. Size: 3 ft. 5-1/3 in. by 3 ft. 4 in. + +4 and 5. _Ceiling Decoration_, and _Diana_, in the Sala del Pergolata, +Convent of S. Paolo, Parma. Frescoes painted in 1518. + +6, 7, and 8. _St. John the Evangelist_, _St. John and St. Augustine_, +_St. Mark and St. Jerome_. Frescoes in the church of S. Giovanni +Evangelista, Parma. Painted 1520-1525. + +9. _The Rest on the Return from Egypt._ (_La Madonna della Scodella._) +According to Pungileoni painted 1527-1528; according to Ricci, +1529-1530. The frame containing the picture is supposed to have been +designed by Correggio himself. It bears the date 1530, when the +picture was placed in the church of S. Sepolcro, Parma. Taken as +French booty in 1796, but returned to Parma in 1816. Now in the Parma +Gallery. Size: 7 ft. 3 in. by 4 ft. 6 in. + +10. _Ecce Homo._ According to Ricci, painted during a visit to +Correggio, 1521-1522; probably first belonged to the Counts Prati, of +Parma. In the seventeenth century there were three pictures of the +subject in Italy claiming to be the original. This picture was +formerly in the Colonna family; now in the National Gallery, London. +Size: 3 ft. 2-1/2 in. by 2 ft. 7-1/2 in. + +11 and 12. _Apostles and Genii_, and _St. John the Baptist_. Frescoes +in the Cathedral of Parma. Painted 1524-1530. + +13. _Christ appearing to Mary Magdalene in the Garden._ (_Noli me +tangere._) Assigned by Ricci to 1524-1526. Described by Vasari as the +property of the Ercolani family of Bologna. Passing from one owner to +another, it was finally presented to Philip IV. of Spain, and is now +in the Prado Gallery, Madrid. Size: 1 ft. 3-1/3 in. by 1 ft. 6-1/2 +in. + +14. _The Madonna of St. Jerome._ (_Il Giorno._) Ordered in 1523 by +Donna Briseide Colla, for the church of S. Antonio, Parma. Painted +1527-1528, according to Ricci. After the destruction of this church it +was placed in the Cathedral for safety. Seized by Napoleon in 1796. +Finally returned to Parma, and now in the Parma Gallery. Size: 4 ft. 8 +in. by 6 ft. 10 in. + +15. _Cupid sharpening his Arrow._ (Detail of _Danaë_.) Ordered +(1530-1533) by Federigo II., Duke of Mantua, as a gift for the Emperor +Charles V. After passing through many hands it came in 1823 into the +possession of the Borghese family, and is now in the Borghese Gallery, +Rome. Size of whole picture, 5 ft. 4 in. by 6 ft. 5 in. + + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE. + +_Compiled from Ricci's_ Correggio, _to which the references to pages +apply_. + +1494. Antonio Allegri born at Correggio. + +1511-1513. Probably in Mantua (p. 69). + +1515. Madonna of St. Francis (p. 94). + +1518. In Parma executing the frescoes of San Paolo, April-December (p. +152). + +1520. Invitation to Parma from the Benedictines (p. 153). Marriage +with Girolama Merlini (p. 185). + +1520-1525. At work on frescoes of S. Giovanni Evangelista, Parma, with +interruptions as noted below (pp. 189-195). + +July, 1521-Spring, 1522. In Correggio (pp. 194, 195), and probable +execution of the Ecce Homo, Christ in Garden, and Noli me tangere (p. +226). + +1521. Birth of son Pomponio, September 3 (p. 185). + +1522. Visit to Reggio and commission for the Nativity (La Notte) +October (pp. 195, 294). Commission for frescoes of Parma Cathedral, +November (p. 250). + +1523. Visit in Correggio (p. 195). Order for Madonna of St. Jerome (p. +278). + +1524. Last payment for frescoes of S. Giovanni (p. 190). Birth of +daughter Francesca Letizia, December 6 (p. 185). + +1524-1530. Work on frescoes of the Parma Cathedral, interrupted by +visits to Correggio, as noted below (p. 273). + +1525. Visits to Correggio in February and August (p. 274). Madonna of +St. Sebastian painted for Confraternity of St. Sebastian at Modena (p. +275). + +1526. Birth of daughter Caterina Lucrezia (p. 185). + +1527. Visits in Correggio (p. 274). + +Circa 1528. Birth of daughter Anna Geria (p. 185). + +1528. Visit in Correggio in summer (p. 274). + +1529. Death of wife (p. 185). + +1530-1534. In Correggio (p. 307). Mythological pictures for Federigo +Gonzaga (p. 311). + +1534. Death of Allegri, March 5 (p. 326). + + +V. LIST OF CONTEMPORARY ITALIAN PAINTERS. + +Vincenzo Catena, Venetian, 1470-1532. +Michelangelo, Florentine, 1475-1564. +Lorenzo Lotto, Venetian, circa 1476-1555. +Bazzi (Il Sodoma), Sienese, 1477-1549. +Giorgione, Venetian, 1477-1510. +Titian, Venetian, 1477-1576. +Palma Vecchio, Venetian, 1480-1528. +Lotto, Venetian, 1480-1558. +Raphael, Umbrian, 1483-1520. +Pordenone, Venetian, 1484-1539. +Bagnacavallo, Bolognese, 1484-1542. +Gaudenzio Ferrari, Milanese, 1484-1549. +Sebastian del Piombo, Venetian, 1485-1547. +Andrea del Sarto, Florentine, 1486-1531. +Bonifazio Veneziano, Venetian, circa 1490-1540. +Cima da Conegliano, Venetian, 1493-1517. +Pontormo, Florentine, 1493-1558. +Moretto, Brescian, 1500-1547. +Bronzino, Florentine, 1502-1572. +Basaiti, Venetian, first record, 1503-last record, 1520. + + + + +I + +THE HOLY NIGHT (LA NOTTE) (Detail) + + +In the northern part of Italy is the little town of Correggio, which +gave its name to the painter whose works we are to study. His real +name was Antonio Allegri, but in the sixteenth century a man would +often be called by a nickname referring to some peculiarity, or to his +birthplace. When Allegri went to Parma he was known as Antonio da +Correggio, that is, Antonio from Correggio, and the name was then +shortened to Correggio. + +A large part of Correggio's work was mural decoration, painted on the +surface of the plastered wall. Besides such frescoes he painted many +separate pictures, mostly of sacred subjects to be hung over the +altars of churches. The choice of subjects was much more limited in +his day than now, and, with the exception of a few mythological +paintings, all Correggio's themes were religious. The subject most +often called for was that of the Madonna and Child. Madonna is the +word, meaning literally My Lady, used by the Italians when speaking of +Mary, the mother of Jesus. The Madonna and Child is then a picture of +the mother Mary holding the Christ-child. + +Our illustration is from such a picture called "La Notte," the Italian +for The Night. The night meant by the title is that on which Jesus was +born in Bethlehem of Judæa. It was at a time known in history as the +Augustan Age, when Rome was the great world-power. Judæa was only an +obscure province of the vast Roman Empire, but here was the origin of +the influence which was to shape later history. The coming of Jesus +brought a new force into the world. + +The story of his infancy has been made familiar by the four +Evangelists. He was born in surroundings which, in Roman eyes, were +fit only for slaves. Mary and Joseph had come up from their own home +to Bethlehem to pay the taxes exacted at Rome. The town was full of +people on the same errand, and "there was no room for them in the +inn." So it came about that the new-born babe was wrapped in swaddling +clothes and laid in a manger used for feeding cattle. + +While he lay in this strange cradle his birth was made known by a +vision of angels to some shepherds on the neighboring hillsides. At +once they betook themselves joyfully to Bethlehem, the first to do +honor to the new-born king. These homely visitors are gathered about +the manger in Correggio's picture. The dark night is without, but a +dazzling white light shines from the Holy Child. + +[Illustration: THE HOLY NIGHT (DETAIL) +_Dresden Gallery_] + +Our illustration shows only the centre of the picture, where the +mother leans over her babe. The little form lies on a bundle of hay, +completely encircled by her arms. The bend of her elbow makes a +soft pillow for his head; her hands hold him fast in the snug nest. +With brooding tenderness she regards the sleeping child. + +A white cloth is wrapped loosely about the baby's body--the swaddling +band, which, when tightly drawn, is to hold the figure straight. The +fingers of one hand peep out from the folds, and one little foot is +free. For the rest we see only the downy top of the baby's head and +one plump shoulder. The little figure glows lite an incandescent body, +and the mother's face is lighted as if she were bending over a fire. +It is a girlish face, for we are told that Mary was a very young +mother. The cares of life have not yet touched the smooth brow. In her +happiness she smiles fondly upon her new treasure. + +We have no authentic description of Mary, the mother of Jesus, but it +is pleasant to try to picture her in imagination. As her character was +a model of womanliness, it is natural to believe her face +correspondingly beautiful. The old masters spent their lives in +seeking an ideal worthy of the subject, and each one conceived her +according to his own standards of beauty. Correggio's chief care was +for the hair and hands, which he painted, as we see here, with +exquisite skill. He was usually less interested in the other features, +and the Madonna of our picture is exceptionally lovely among his works +of this kind. + +The picture of La Notte illustrates very strikingly an artistic +quality for which Correggio is famous. This is _chiaroscuro_, or the +art of light and shadow,--the art by which the objects and figures of +a picture are made to seem enveloped in light and air, as in the +actual world. The contrast between the bright light in the centre and +the surrounding darkness gives vivid reality to the figures. There is +also a symbolic meaning in the lighting of the picture. Christ is "the +light of the world;" hence his form is the source of illumination. + +Our picture was originally called by the simple title of The Nativity. +Then the Italians, struck by the power with which the effect of +midnight was produced, called it "La Notte," The Night. When it came +to a German gallery the Germans called it "Die Heilige Nacht," The +Holy Night. An old German Christmas carol interprets it so perfectly +that it seems as if the author must have known the picture. These are +the verses:-- + + "Silent night! Holy Night! + All is calm, all is bright + Round you, virgin mother and child; + Holy infant, so tender and mild, + Sleep in heavenly peace, + Sleep in heavenly peace. + + "Silent Night! Holy Night! + Shepherds quake at the sight. + Glories stream from Heaven afar, + Heavenly hosts sing alleluia. + Christ the Saviour is born! + Christ the Saviour is born! + + "Silent Night! Holy Night! + Son of God, love's pure light + Radiant beams from Thy holy face + With the dawn of redeeming grace, + Jesus, Lord, at thy birth, + Jesus, Lord, at thy birth." + + + + +II + +ST. CATHERINE READING + + +The story of St. Catherine is very quaintly told in the old legend.[4] +She was the daughter of "a noble and prudent king," named Costus, "who +reigned in Cyprus at the beginning of the third century," and "had to +his wife a queen like to himself in virtuous governance." Though good +people according to their light, they were pagans and worshippers of +idols. + +[Footnote 4: The life of St. Catherine is related in the _Golden +Legend._ See Caxton's translation in the _Temple Classics_, volume +vii., page 1. Mrs. Jameson also gives an outline of the story in +_Sacred and Legendary Art_, p. 459.] + +Even in her babyhood the child Catherine was "so fair of visage" that +all the people rejoiced at her beauty. At seven years of age she was +sent to school, where "she drank plenteously of the well of wisdom." +Her father was so delighted with her precocity that he had built a +tower containing divers chambers where she might pursue her studies. +Seven masters were engaged to teach her, the best and "wisest in +conning" that could be found. So rapid was their pupil's progress that +she soon outstripped them in knowledge, and from being her masters +they became her disciples. + +When the princess was fourteen, her father died, leaving her heir to +his kingdom. A parliament was convened, and the young queen was +crowned with great solemnity. Then arose a committee of lords and +commons, petitioning her to allow them to seek some noble knight or +prince to marry her and defend the kingdom. Now Catherine had secretly +resolved not to marry, but she answered with a wisdom not learned +altogether from books. She agreed to marry if they would bring her a +bridegroom possessing certain qualifications which she knew were +impossible to fulfil. This silenced the counsellors, and she continued +to reign alone. + +In the course of time Queen Catherine became a Christian and devoted +herself to works of religion and charity. Under her teaching many of +her people were converted to the faith. It was a happy kingdom until +the Emperor Maxentius chanced to visit the royal city. He was a tyrant +who persecuted Christians. Upon his arrival he ordered public +sacrifices to idols, and all who would not join in the heathen +ceremony were slain. Then Catherine went boldly to meet the emperor +and set forth to him the errors of paganism. Though confounded by her +eloquence he was not to be convinced by the words of a mere woman. +Accordingly he summoned from divers provinces fifty masters "which +surmounted all mortal men in worldly wisdom." They were to hold a +discussion with the queen and put her to confusion. For all their +arguments, however, Catherine had an answer. So complete was her +victory that the entire company declared themselves Christians. The +angry emperor caused them all to be burned and cast Catherine into +prison. + +[Illustration: ST. CATHERINE READING +_Hampton Court Gallery, London_] + +Even here she continued her good works, converting the empress and a +prince who came to visit her. A new torment was then devised for her. +Iron wheels were made, bound with sharp razors, and she was placed +between these while they were turned in opposite directions. "And anon +as this blessed virgin was set in this torment, the angel of the Lord +brake the wheels by so great force that it slew four thousand +paynims." Maxentius then commanded that she should be beheaded, and +St. Catherine went cheerfully to her death. + +Other virgin martyrs may have been as good and as beautiful as St. +Catherine, but none were so wise. We know her in our picture by the +book she holds. Eager to acquire all the treasures of knowledge, she +fixes her eyes on the page, absorbed in her occupation. Already she +has read more than half the thick volume, smiling with quiet enjoyment +as she reads. There is little in the face to suggest the scholar or +the bookworm. Were this a modern picture, we should fancy it a young +lady reading her favorite poet. As it is, however, we must believe +that the book is some work by Plato or another of the ancient writers +whom St. Catherine could quote so readily. We need not wonder that she +does not knit her brow over any difficult passages. What might be hard +for another to grasp is perfectly clear to her understanding. + +The beautiful hair coiled over her head is the only coronet the +princess wears. There is no sign of her royalty, and we may infer that +the picture represents her in those early days of girlhood before the +cares of government were laid on the young shoulders. As we study the +position of the figure we see that the left arm rests on the rim of a +wheel, making a support for the hand holding the book. The wheel is +the emblem most frequently associated with St. Catherine, as the +reminder of the tortures inflicted by Maxentius. The palm branch +caught in the fingers of the left hand is the symbol used alike for +all the martyrs. The reference is to that passage in the book of +Revelation which describes the saints standing before the throne "with +palms in their hands."[5] + +[Footnote 5: Revelation vii. 9.] + +It is pleasant to believe that Correggio took unusual pains with this +picture of St. Catherine. The story of the lovely young princess seems +to have appealed to his imagination, and he has conceived an ideal +figure for her character. The exquisite oval of the face, the delicate +features, and the beautiful hair make this one of the most attractive +faces in his works. + +The light falls over the right shoulder, casting one side of the face +in shadow. The modulations of light on the chin and neck, and the +gradation in the shadow cast by the book on the hand, show Correggio's +mastery of chiaroscuro. + + + + +III + +THE MARRIAGE OF ST. CATHERINE + + +At the time of her coronation, St. Catherine knew nothing of the +Christian faith, but she had set for herself an ideal of life she was +determined to carry out. It was her firm resolve not to marry. Her +counsellors argued that, as she was endowed with certain qualities +above all creatures, she ought to marry and transmit these gifts to +posterity. The attributes they enumerated were, first, that she came +of the most noble blood in the world; second, that she was the richest +living heiress; third, that she was the wisest, and, fourth, the most +beautiful of all human beings. + +The young queen replied that she would marry only one who possessed +corresponding qualities. "He must be," she said, "so noble that all +men shall do him worship," so rich that "he pass all others in +riches," so full of beauty "that angels have joy to behold him;" and +finally, he must be absolutely pure in character, "so meek that he can +gladly forgive all offences." "If ye can find such an one," she +declared, "I will be his wife with all mine heart, if he will +vouchsafe to have me." + +Of course all agreed that there never was and never would be a man +such as she described, and the matter was at an end. To Catherine, +however, there came a strange conviction that her ideal was not an +impossible one. All her mind and heart were filled with the image of +the perfect husband she had conceived. She continually mused how she +might find him. + +While she thought on these things, an old hermit came to her one day +saying that he had had a vision, and had been sent with the message +that her chosen bridegroom awaited her. Catherine at once arose and +followed the hermit into the desert. Here it was revealed to her that +the perfect man she had dreamed of was Jesus, the Christ, and to this +heavenly bridegroom she was united in mystic marriage. Returning to +her palace she wore a marriage ring, as the perpetual token of this +spiritual union. + +The story explains the subject of our picture. The Christ-child, +seated on his mother's knee, is about to place a ring on St. +Catherine's finger, while St. Sebastian looks on as a wedding guest. +The infant bridegroom performs his part with delight. He holds the +precious circlet between the thumb and forefinger of his right hand, +and with his left singles out St. Catherine's ring finger. The bride's +hand rests on the mother's open palm, held beneath as a support. + +[Illustration: THE MARRIAGE OF ST. CATHERINE +_The Louvre, Paris_] + +All are watching the child's motions intently; the mother with quiet +pleasure, St. Sebastian with boyish curiosity, and St. Catherine +herself with sweet seriousness. Any comparison of the scene with a +human marriage is set aside by the fact that the bridegroom is an +infant. The ceremony is of purely spiritual significance, a true +sacrament. St. Catherine's expression and manner are full of humility, +as in a religious service. + +The Christ-child is a robust little fellow whose chief beauty is his +curls. He has the large head which usually shows an active +temperament, and we fancy that he is somewhat masterful in his ways. +We shall see the same boy again in the picture called The Madonna of +St. Jerome. + +The mother, too, has a face which soon becomes familiar to the student +of Correggio's works. The eyes are full, the nose is rather prominent, +the mouth large and smiling, and the chin small. Even St. Catherine is +of the same type, except that her face is cast in a smaller and more +delicate mould. Her hair is arranged precisely like that of the +Madonna, the braids bound about the head, preserving the pretty round +contour. Both women wear dresses cut with round low necks, showing +their full throats. St. Catherine's left hand rests upon a wheel with +spiked rim, which, as we have seen, is her usual emblem. Another +emblem is the sword, whose hilt projects from behind the wheel. This +was the instrument of her execution. + +Special prominence is given in the picture to three sets of hands. The +skill with which they are painted is noted by critics as one of the +many artistic merits of the work. One of Browning's poems[6] describes +an artist's meditations while trying to draw a hand. His failure +teaches him to realize that he must study the + + "Flesh and bone and nerve that make + The poorest coarsest human hand + An object worthy to be scanned + A whole life long for their sole sake." + +Such must have been Correggio's study to enable him to produce the +beautiful hands we see here. + +[Footnote 6: _Beside the Drawing Board._] + +St. Sebastian is a figure not to be overlooked. We may find his like +among the genii of the Parma Cathedral, which we are to study. He is a +joyous being to whom it is good merely to be alive. The elfin locks +falling about his face make him look like some creature of the woods. +We are reminded most of the faun of the Greek mythology. The arrows in +his hand suggest some sylvan sport, but in reality they are the emblem +of his martyrdom. According to tradition the young saint was bound by +his enemies to a tree, and shot with arrows. + +Behind the group stretches a bit of open country, and if we look +closely we can discern here two groups of small figures. One +represents the martyrdom of St. Sebastian, and the other, the +execution of St. Catherine. We may suppose that such gruesome subjects +were not the choice of the painter. It is probable that they were +dictated by his patrons, and in obeying orders he made the figures as +inconspicuous as possible. + + + + +IV + +CEILING DECORATION IN THE SALA DEL PERGOLATO + +(HALL OF THE VINE TRELLIS) + +(S. Paolo, Parma) + + +In the time of Correggio the convent of S. Paolo (St. Paul) in Parma +was in charge of the abbess Giovanna da Piacenza, who had succeeded an +aunt in this office in 1507. She was a woman of liberal opinions, who +did not let the duties of her position entirely absorb her. She still +retained some social connections and was a patroness of art and +culture. The daughter of a nobleman, she was a person of consequence, +whose private apartments were such as a princess might have. Already a +well known painter of the day had decorated one of her rooms when she +heard of the rising artist Correggio. Probably advised by her relative +the Cavaliere Scipione Montino, she commissioned the young painter to +fresco a second room. + +The decorative scheme he designed is very beautiful and elaborate. The +square ceiling is completely covered with a simulated trellis, +embowered in foliage and flowers, and pierced by oval windows through +which children are seen at play. A circle in the centre contains the +family arms of the abbess, a shield on which three crescent moons are +set diagonally. From this centre, as from the hub of a wheel, a +series of gilded ribs radiate towards the sides, cutting the whole +space into triangular sections whose surfaces are slightly hollowed. +The oval windows of the trellis open in these sections, one in each +triangle, and sixteen in all. Above every window hangs a bunch of +fruit, seemingly suspended from 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 sixteen lunettes +or semicircles running around the square, one in each section. The +frieze around the side walls simulates a narrow scarf caught up in +festoons between ornamented capitals formed of rams' heads. The +remaining decoration of the room is on the cap of the chimney, and +represents the goddess Diana setting forth for the chase. + +This picture furnishes the subject of the children's games in the +lattice bower. The little sprites are attendants of the goddess, +playing in a mimic hunt. Two or three may be seen through every +window, busy and happy in their innocent sport. One is the delighted +possessor of a quiver of arrows, from which he draws a shaft. Others +play with the hounds, pulling them hither and thither at their will. A +group of five find the hunting-horn an amusing plaything, and +good-humoredly strive together over the treasure. + +[Illustration: CEILING DECORATION IN THE SALA DEL PERGOLATO +_Convent of S. Paolo, Parma_] + +Our illustration shows a quarter section of the ceiling, from which we +can in imagination reconstruct the whole diagram.[7] Let us see +what the children are doing in this corner of the lattice. At the +window directly in front of us a little fellow proudly exhibits a +stag's head as a trophy of the chase. Just behind his shoulder a merry +companion, peeps out, and lower down, on the other side, appears the +head of an animal like a doe. In the next window is a boy with a +wreath of flowers with which he and a companion apparently mean to +crown the head of the stag. The third boy of the group has for the +moment lost interest in the play, his attention being attracted by +something going on outside. Now comes a boy passing by the next +window, who hastens to join the party we have just seen. His +playfellow wants to go the other way, and tries to detain him. "Come," +he says, seizing him by the arm, "there's no fun over there. See what +I have found." + +[Footnote 7: A quarter section, mathematically exact, is of course, +square in shape. In our illustration the lower part of two lunettes is +cut off.] + +We are somewhat at a loss to know just what mischief the baby in the +next window has been plotting. He grasps with both hands a tall staff, +which may be a hunting-spear, or perhaps a pole with which he hopes to +reach the fruit. In some way he has managed to get both feet through +the window, and is now in a precarious position, half in and half out. +His companion tries to draw him in; but whether he is alarmed at the +danger, or is himself eager to get the pole, we cannot tell. + +The lunettes of the ceiling are painted in gray, framed in borders of +sea-shells. They are made to simulate niches containing sculptured +figures with some allegorical or mythological meaning. In our +illustration we see first the figure of Chastity, holding in her right +hand the dove, which is the emblem of innocence. The dress is the +long, plain tunic seen in Greek sculpture, and the thin stuff of which +it is made flows in graceful lines about the form. We are reminded of +Milton's lines in "Comus:"-- + + "So dear to Heav'n is saintly Chastity, + That when a soul is found sincerely so, + A thousand liveried angels lacky her, + Driving far off each thing of sin and guilt, + And in clear dream and solemn vision, + Tell her of things that no gross ear can hear." + +The next figure is similar in character and meaning. It is Virginity, +holding in her right hand the lily, which is the symbol of purity. The +other two figures, of which we see only the upper portion, are +Fortune, with a cornucopia, and the helmeted Athena, with spear and +torch. + +At the death of the abbess Giovanna in 1574, the convent of S. Paolo +entered upon a period of severe ecclesiastical discipline. For more +than two centuries it was impossible for outsiders to gain admittance, +and the "Sala del Pergolato" was a sealed treasure. Finally, in 1794, +the Academy of Parma gained permission to examine Correggio's +paintings. After the suppression of the convent the room was thrown +open to the public, and the building is now used for a school. + + + + +V + +DIANA + + +In classic mythology, Diana, the Greek Artemis, was the goddess of the +moon, twin sister of the sun-god Apollo. As the rays of moonlight seem +to pierce the air like arrows, Diana, like Apollo, was said to carry a +quiver of darts; the slender arc of the crescent moon was her bow. +Thence it was natural to consider her fond of hunting, and she became +the special patroness of the chase and other sylvan sports. Her +favorite haunts were groves and lakes, and she blessed the increase of +field and meadow. She was mistress of the brute creation, and showed +special favor to the bear, the boar, the dog, the goat, and the hind. +The poet Wordsworth has described how the ancient huntsman regarded +the goddess:-- + + "The nightly hunter lifting up his eyes + Towards the crescent moon, with grateful heart + Called on the lovely wanderer who bestowed + That timely light to share his joyous sport; + And hence a beaming goddess with her nymphs + Across the lawn and through the darksome grove + (Not unaccompanied with tuneful notes + By echo multiplied from rock or cave) + Swept in the storm of chase, as moon and stars + Glance rapidly along the clouded heaven + When winds are blowing."[8] + +[Footnote 8: In _The Excursion._] + +There were other pleasant beliefs about Diana such as might be +connected with the thought of the moon. As the moonlight cheers the +traveller on his way and enters the chamber of the sick and lonely, so +Diana was said to watch with the sick and help the unfortunate. The +pale, white light of the moon is a natural symbol of purity, hence +Diana was a maiden goddess above all allurements of love. Her worship +was conducted with splendid rites in various ancient cities. The +temple built in her honor at Ephesus was famous as one of the seven +wonders of the world. + +The ancients naturally liked to fancy the goddess very beautiful. The +Greek poet Anacreon called her "the goddess of the sun bright hair." +The English Keats, who delighted in the old Greek myths, has also +described the charms of "the haunter chaste of river sides, and woods +and heathy waste."[9] She had "pearl round ears, white neck, orbed +brow, blush tinted cheeks," and "a paradise of lips and eyes." + +[Footnote 9: In _Endymion_. See also Lowell's _Endymion_ for a +description of Diana.] + +In our picture the moon goddess is mounting her car for the nightly +course across the sky.[10] Though she seems to be but just springing +to her place, with bending knee, she is already speeding on her way. + +[Footnote 10: As Apollo drives the sun chariot across the sky by day. +Compare Guido Reni's Aurora.] + + "How tremulous-dazzlingly the wheels sweep + Around their axle." + +Her quiver, well filled with the bow and arrows, hangs at her back, +held by the strap bound over her breast.[11] The crescent moon gleams +above her brow. The vehicle is the small two-wheeled chariot used +among the Romans, scarcely larger than a chair. Only the hind legs of +the steeds may be seen, but we fancy them to be two white does. + +[Footnote 11: It seems odd that with this full quiver the subject +should be called by some "Diana's Return from the Chase."] + +[Illustration: DIANA +_Convent of S. Paolo, Parma_] + +The huntress turns her face earthward, lifting a fluttering veil high +in her left hand. It is as if the face of the moon had been hidden +behind a cloud which the goddess suddenly draws aside and shows "her +fulgent head uncovered, dazzling the beholder's sight." It is with a +bright, cheerful countenance that she beams upon her worshippers. A +sense of courage and exhilaration is expressed in her spirited +bearing. With her right hand she points forward, as if calling us to +join in the sport. In the swiftness of her motion her unbound hair and +filmy garments blow out behind her. + +She is a country-bred maiden, with plump neck and round arms, and her +chief charm is her buoyant vitality. Her open face, with eyes set +rather far apart, is the index of her nature. Her free life in the +woods has developed a well poised womanhood. Fear is unknown to her; +pain and disease come not near her. Rejoicing in immortal youth and +strength, she speeds nightly through the sky, the messenger of light +and comfort. + +As we have seen in the preceding chapter, the picture of Diana is +painted in fresco on the chimney cap, or hood, over the great +fireplace in the Hall of the Vine Trellis. We may well believe that +the decoration went far towards furnishing the stately apartment. +Underneath runs the Latin inscription, "_Ignem gladio ne fodias_," +stir not the fire with the sword. + +It will be remembered that the arms of the abbess, for whom the room +was decorated, bore the device of the crescent moon. This fact may +have suggested to Correggio, or his patrons, the subject of the moon +goddess. Diana, as a virgin divinity, was an especially appropriate +choice for the apartment of a nun. + +The legends of Greek mythology were at that time very popular among +people of culture, having been recently brought to notice in the +revival of classic learning. In Italy they furnished themes for the +painter; in England, for the poet. The English Ben Jonson, living a +half a century later than Correggio,[12] but representing in a certain +measure the same love of classic allusion, wrote a "Hymn to Diana," +which might have been inspired by this picture. The first stanza may +be quoted for its interpretation:-- + + "Queen and huntress, chaste and fair, + Now the sun is laid to sleep, + Seated in thy silver chair, + State in wonted manner keep. + Hesperus entreats thy light, + Goddess excellently bright." + +[Footnote 12: That is, from 1573 to 1637.] + + + + +VI + +ST. JOHN THE EVANGELIST + + +It seemed understood among the twelve disciples of Jesus that John was +the one of their number especially beloved by the Master. He and his +brother, James, were the sons of the fisherman Zebedee, and all three +men earned their living in their fishing-boats on the sea of Galilee. +It was while they were busy with their nets that Jesus one day called +the two brothers to be fishers of men. "And they straightway left +their nets and followed him."[13] + +[Footnote 13: St. Matthew, chapter iv., verse 20.] + +Under the teachings of Jesus, John grew in knowledge of spiritual +things. He was one of the three accompanying their Master to the Mount +of Transfiguration, where they witnessed a sacred scene withheld from +the others. His nature was affectionate and poetic, and he was a deep +thinker. Often when the meaning of Jesus' words was beyond his +hearers, John treasured the sayings in his memory. On the evening when +Jesus sat at table with his disciples for the last time, John was near +him, leaning on his Master's breast. When, on the next day, Jesus hung +upon the cross, it was John to whom he commended his mother as to a +son. "And from that hour that disciple took her unto his own home." + +In the years that followed, John pursued his Christian service with +the zeal of an ardent nature. He remained awhile in Judæa and, in +company with Peter, added many converts to the faith. He then carried +the work into Asia Minor, where he founded seven churches. Not only +was he a preacher and organizer, but a voluminous writer as well. The +fourth Gospel is believed to be his work, in which he records many +words and deeds of Jesus overlooked by the other Evangelists. He was +also the writer of the three Epistles which bear his name. Finally, he +is supposed to be the author of the book of Revelation, in which he +described his visions during his exile in the isle of Patmos. +According to tradition, he lived to a great age, and died at Ephesus +in Asia Minor. + +The love with which Christians cherish the memory of St. John is seen +in the number of churches bearing his name. One such is that in Parma +which was newly built at the time when Correggio was winning his first +laurels. The most important portions of the interior decorations were +executed by our painter. + +Before considering the frescoes of the cupola, the visitor to the +church likes to pause before the lunette over the door of the left +transept. The subject is St. John, seated with his writing materials +on his lap. There is a pile of books behind him and a volume beside +him. At his feet stands the symbolic eagle pluming his wing. + +[Illustration: ST. JOHN THE EVANGELIST +_Church of S. Giovanni Evangelista, Parma_] + +The emblems of the Evangelists are drawn from Ezekiel's vision of +the "four living creatures," whose faces were those of a man, a lion, +an ox, and an eagle. Applied respectively to the writers of the four +Gospels, each emblem suggests some characteristic trait. The eagle is +especially appropriate to St. John. As the bird soars into the upper +regions of the sky and looks directly at the sun, so St. John's +inspiration raised him into the highest realms of thought, where he +seemed to gaze directly upon the divine glory. It is for this that he +is called St. John, "the divine." As the Latin inscription over the +lunette reads, "More deeply than the others he disclosed the mysteries +of God."[14] + +[Footnote 14: "Altius cœteris Dei patefecit arcana."] + +In our picture the Evangelist lifts his eyes heavenward as if +beholding a vision. His lips are parted, and he has the rapt +expression of one absorbed in meditation. His right hand still holds +the pen as he pauses for inspiration. + +In trying to do honor to the beloved disciple, the painters have +always represented him as the most beautiful of the twelve. As the +most Christ-like in character, he is made to resemble the typical +figure of Christ. So in this fresco by Correggio, he is a beautiful +youth, with the curling hair, the oval face and the regular features +we associate with the person of Jesus. Though the beardless face is so +refined, there is nothing weak or effeminate about it. The whole +figure is indeed very manly. The head is well set on a full throat and +the shoulders are broad. Rising to his feet St. John would be a tall, +athletic young man, capable of lending a strong hand at his father's +fishing-nets. The union of strength and refinement makes the picture +one of the most attractive ideals of St. John ever painted. + +The keynote of St. John's Gospel is the love of God; his ardent nature +never wearied of the theme; the wonder in his lifted face shows him +still intent upon the mystery. Were we to seek some characteristic +utterance which should appropriately interpret his thoughts, it might +well be the words of Jesus to Nicodemus, "God so loved the world that +he gave his only begotten son, that whosoever believeth in him should +not perish, but have everlasting life."[15] + +[Footnote 15: St. John, chapter iii., verse 16.] + + + + +VII + +ST. JOHN AND ST. AUGUSTINE + + +The church of S. Giovanni Evangelista (St. John the Evangelist), in +Parma, is built with a dome-shaped cupola which Correggio filled with +a fresco decoration. The subject is drawn from the life of the apostle +whose name is given to the church: it is the vision of St. John on the +isle of Patmos. Looking up into the dome, one seems to be looking +directly into the open sky, upon the figure of Christ ascending into +heaven. The apostles sit in a circle on the clouds, and beneath them +the aged St. John kneels on the mountain top, gazing upwards upon the +vision. The heavenly spaces are alive with angels, for, as Browning +writes:-- + + "Correggio loves to mass, in rifts + Of heaven, his angel faces, orb on orb." + +The little creatures are sporting among the clouds and, in the poet's +phrase, "waiting to see some wonder momently grow out." + +Where the dome rests upon the four arches which support it, are four +triangular corner-pieces called pendentives, which also belong to +Correggio's decorative plan. They are devoted respectively to the +figures of the four Evangelists, each one accompanied by one of the +four Fathers of the Church. The Christian Fathers were the men whose +writings and teachings shaped the doctrines of the faith in the early +centuries of our era. They interpreted for the people the meaning of +the Scriptures and the Gospels. + +The pendentive of our illustration contains St. John with St. +Augustine. The two sit side by side, engaged in a discussion over the +book which they hold together. St. John is young and beautiful, as the +painters always represent him, except in the subject of the vision of +Patmos. The face is perhaps less strong and the expression less +exalted than in the lunette we have studied. There is a boyish +eagerness in his manner. The symbolic eagle is beside him, peeping out +from the folds of the drapery. St. Augustine is a handsome old man +with finely cut features. To understand how well the figure fits his +character, we must know something of his life.[16] + +[Footnote 16: The life of St. Augustine, also called St. Austin, is +related in the _Golden Legend_. See Caxton's translation in the +_Temple Classics_, vol. 5, page 44. Mrs. Jameson gives a condensed +account of the life in _Sacred and Legendary Art_, p. 303.] + +He was born in Numidia near the middle of the fourth century, and +showed in his boyhood brilliant powers of mind. Without the help of +any teacher he read and mastered all the books necessary to an +education in the liberal arts. His mother, Monica, was a devout +Christian, and sought to lead her son to a godly life. For a long time +her efforts seemed in vain. Augustine would make no profession of the +Christian faith, but rather indulged in youthful dissipations. His +best quality was his love of study. He became a teacher of rhetoric, +and pursued his vocation in one city and another, always dissatisfied +with his life. At length, in his thirtieth year, he came to Milan, +where he fell under the influence of Bishop Ambrose. Then followed a +mighty struggle in his soul, and in the end he yielded himself +joyfully as a disciple of Christ. On the occasion of his baptism was +composed the hymn called the "Te Deum" which is still used in +churches. + +[Illustration: ST. JOHN AND ST. AUGUSTINE +_Church of S. Giovanni Evangelista, Parma_] + +Henceforth the life of Augustine was filled with Christian labors. +After some ten years of devout living he became the bishop of Hippo +(near Carthage) where he resided for thirty-five years, until his +death in 430. All his stores of learning were devoted to the +explanation of Christian theology. He wrote a great number of +treatises refuting what he believed to be heresies, and setting forth +what he considered the true doctrines of the faith. An old writer +pronounced him "sweet in speech, wise in letters, and a noble worker +in the labours of the church." In a book of "Confessions" he laid bare +all his faults with great humility. + +In our picture the good bishop is learning the truths of the faith +from St. John, while a child-angel behind him holds his crosier and +mitre. Allowing for the difference of ages, there is a certain +resemblance between the two men, showing that they have in common a +refined and sensitive nature, and an ardent temperament. The older +man's face shows lines of thought and character. + +St. John seems to be counting off the points of the discussion on his +fingers: it may be that he is unfolding the doctrine of the Trinity. +The bishop follows the argument slowly, imitating St. John's gesture +with hesitating hands. What seems so clear to the eager young teacher +requires much deliberation on the part of the learner. The old man +knits his brows with an intent expression, striving to understand the +mystery. The two earnest faces turned towards each other make an +interesting contrast. + +The angel figures of the pendentive are worthy of notice. Three little +creatures are frolicking on the clouds below the saints' feet, and two +are perched on the upper part of the arches. They are wingless +sprites, playful as human children, but with a grace and beauty not of +earth. Two seem to be emerging from a hiding-place in the clouds, and +gaily hail their comrade on the arch above. The lovely sprite on the +opposite arch is thinking of other things, and looks over his shoulder +across the church. The tiny fellow in charge of the mitre and crosier +peeps out with a mischievous countenance. + +Our reproduction shows a portion of the soffits, or under sides of the +arches, decorated with figures from Old Testament history, painted in +monochrome. + + + + +VIII + +ST. MATTHEW AND ST. JEROME + + +The apostle Matthew was employed as a tax-gatherer in Jerusalem when +he became a disciple of Jesus. He was sitting one day at the receipt +of customs, when Jesus passed by and said unto him, "Follow me." "And +he left all, rose up and followed him."[17] Soon after, the new +disciple made a great feast for the Master, scandalizing the scribes +and Pharisees by inviting guests of doubtful reputation. Matthew, +however, had rightly judged the spirit of Jesus, who had come "not to +call the righteous, but sinners to repentance." Throughout the +ministry of Jesus, Matthew remained a faithful disciple, but without +distinguishing himself in any way. Evidently he had a thoughtful mind +and a good memory. In his Gospel he reported very fully the Sermon on +the Mount and many of the parables. + +[Footnote 17: St. Luke, chapter v., verse 28.] + +One of the pendentives of the cupola in the church of S. Giovanni +Evangelista is devoted to St. Matthew in company with St. Jerome. The +Evangelist turns from the open Gospel before him to speak to St. +Jerome, who is occupied with his writing. A winged cherub, sitting on +a cloud in front of him, supports his book with both outstretched +arms. The cherub is St. Matthew's emblem, as the eagle is that of St. +John. It is by this charming figure that the old masters represented +the face of "a man," that is, the human face, in the "living creature" +of Ezekiel's vision.[18] The symbol is appropriately applied to the +first Evangelist because his Gospel emphasizes the humanity of Jesus. + +[Footnote 18: See also pages 34, 35.] + +The token of St. Jerome's identity is the cardinal's hat, held by an +angel on the arch beside him. The two volumes on his lap, in addition +to the scroll upon which he is engaged, show how busy has been the pen +of this learned Father. As the old chronicler relates, "he never +rested day ne night, but always read or wrote."[19] + +[Footnote 19: The life of St. Jerome is related in the _Golden +Legend_. See Caxton's translation, in the _Temple Classics_, vol. v., +page 199. Mrs. Jameson gives a condensed account of the same in +_Sacred and Legendary Art_, page 280.] + +He came of a rich family, and received at Rome the best education +afforded by his times. Like his contemporary, St. Augustine, he +devoted all his scholarship to the service of the Christian faith. +While St. Augustine's tastes were more philosophical, St. Jerome's +were perhaps more for pure learning and the study of the classics. He +made himself master of Hebrew and Greek, and his most valuable work +was his translations. He rendered into Latin, which was the literary +language of his day, the various books of the Old and New Testament, +and this version became the authorized Bible or Vulgate. + +[Illustration: ST. MATTHEW AND ST. JEROME +_Church of S. Giovanni Evangelista, Parma_] + +St. Jerome was a Dalmatian by birth, but in the course of his life +he journeyed to many countries. Soon after his baptism, he visited +Syria, to retrace the scenes of the life of Christ. He then retired to +a desert, where he passed four years in penance and fasting, living in +the companionship of wild beasts. Clothed in sackcloth, he spent his +days in torture, struggling with temptation, and haunted by visions of +demons. + +At a later period of his life he was in Rome, where he gained an +immense influence over fashionable women. Two of his converts here +were Paula and Marcella, whose names are historical. Finally he +returned to Palestine, and passed the remainder of his days in a +monastery which he had founded in Bethlehem. He was a man of vehement +nature, a violent partisan, and an untiring student. + +Something of his character may be seen in the face of the old man of +our picture, bending over his writing. He seems so absorbed in his +task that he is entirely unconscious of his surroundings. The deep-set +eyes, overhung by shaggy brows, are fixed intently on his scroll. From +his association with St. Matthew, we may fancy that he is translating +the first Gospel. The Evangelist, with his own volume before him, is +supervising the work. He turns to the translator with an encouraging +smile, and seems to dictate the words. St. Matthew's face is gentle +and amiable, though not so strong as we are wont to imagine it. He is +here represented in middle life, at about the age when called to +discipleship. + +As in the pendentive of St. John and St. Augustine, the angel figures +add an element of beauty to the picture. Each one seems attracted by +some distant object. The cherub holding St. Matthew's book looks +towards the worshippers in the church. Some one in the congregation +also seems to attract the attention of the angel with the cardinal's +hat, and he smiles shyly, as if in reply to a gesture of admiration. +His companion on the other arch turns his eyes towards the figures in +the dome, where the apostles are enthroned on clouds. The playful +little fellow on the clouds below St. Matthew's feet looks across at +the sprites of the opposite pendentive. + +All this charming by-play gives the impression of a company of living +spirits frolicking among the arches of the church. "Have Correggio's +_putti_[20] grown up yet and walked out of their frames?" the painter, +Guido Reni, used to ask, referring with quaint humor to the wonderful +lifelikeness of such child figures. So, looking at these angels, we +half expect to see them wave a hand to us over the arches, and, +turning with a sudden motion, disappear from our sight among the +clouds. + +[Footnote 20: Italian for "boys."] + + + + +IX + +THE REST ON THE RETURN FROM EGYPT + +(The Madonna della Scodella) + + +Before the child Jesus was two years old, he was taken on a journey +which at that time was long and tedious. An angel appeared to Joseph +one night in a dream, saying, "Arise, and take the young child and his +mother, and flee into Egypt, and be thou there until I bring thee +word; for Herod will seek the young child to destroy him." + +The news of Jesus' birth had been first brought to King Herod by the +wise men of the East, who came in search of the new-born king whose +star they had seen. The idea of a strange ruler to usurp the throne +alarmed Herod, and he determined to be rid of any possible rival. +Accordingly orders were given to slay all children in and near +Bethlehem "from two years old and under." + +While this terrible slaughter was going on, the Holy Family were +making their way to the strange land of refuge. Here they lived, +awaiting heavenly guidance for their return. "But when Herod was dead, +behold an angel of the Lord appeareth in a dream to Joseph in Egypt, +saying, Arise, and take the young child and his mother, and go into +the land of Israel; for they are dead which sought the young child's +life. And he arose, and took the young child and his mother, and came +into the land of Israel."[21] + +[Footnote 21: The quotations are from St. Matthew, chapter ii.] + +This is all the Evangelist tells us of what was doubtless an exciting, +perhaps even a perilous adventure. We may suppose both journeys to +have been made by donkeys, the common beasts of burden in Eastern +countries. The young mother and child must certainly have had to ride. +As for Joseph, he was a sturdy man, and may well have walked; in those +days travelling was a matter of time. Unused to luxuries, these simple +folk trusted in Providence to supply their few needs by the way. + +Our picture illustrates an imaginary incident on the return journey +from Egypt to Israel. It is the hour of the noonday rest, and the +little company have come to a halt in the woods. An old legend relates +how at such times the trees would bend to offer them fruit, and +springs would gush forth out of the dry ground for their refreshment. +Mary has seated herself on a bank by the stream, while Joseph plucks +the fruit from the date palm near by. + +The boy Jesus has been standing between the two, watching Joseph, from +whose outstretched hand he now takes the fruit. At the same time he is +thirsty, and leaning back towards his mother, he turns and throws an +arm over her shoulder, asking for a drink of water. She has a round +basin (or _scodella_) which the family use as a drinking-cup, and the +child points to it with a coaxing smile, resting his hand on her +wrist. + +[Illustration: THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) +_Parma Gallery_] + +Mary turns with fond pride towards the dear little face so near her +own. Her face is the same which we have already seen bending in a +mother's first ecstasy over her babe. Here it has a maturer and more +matronly look, but with no less sweetness. Joseph, from his higher +level, looks down kindly upon the two. His generous nature seems to +take delight in anything that gives them pleasure. He is large and +heavily built, a stalwart protector should perils beset them. In spite +of the thick draperies so clumsily wound about him, he is a dignified +figure. He holds here a place of prominence seldom given him by other +painters. + +The child upon whom so much love is lavished is a tall, lithe boy with +a well shaped head. His hair is parted, and falls in loose curls on +each side of a forehead which marks him a child of genius. The face is +delicate and sensitive, with a shy expression in the eyes. + +The family are not alone, for, all unseen by them, a company of +ministering angels wait upon them. A tall one in the rear takes care +of the donkey. Another little creature peeps from the thicket beside +Mary. Four more circle overhead among the branches of the trees, borne +upon little clouds which they have brought with them from the upper +regions. Their wind-blown hair and fluttering garments show how swift +is their motion. One of them tugs mightily at the palm, throwing +himself backward in the effort to bend it towards Joseph. Two others +sport together with interlocked arms, and higher still, a pair of +eyes gleam through the leaves. The whole jocund company seem to fill +the place with mirth. They fulfil the promise of the ancient psalmist, +"He shall give his angels charge over thee, to keep thee in all thy +ways." + +Certain characteristics of Correggio's art are well illustrated in the +picture. His delight in the foot is here almost equal to that he shows +for the hand in "The Marriage of St. Catherine." The three wayfarers +travel with bare feet, and the ministering angels flaunt their feet +gaily in the air. Drawn in many positions, it is interesting to see +how decorative this feature of the picture is. + +The figures are cleverly grouped, that they may completely fill the +tall, narrow panel. The composition is built on a diagonal plan. From +the left hand of Joseph, grasping the palm branch, to the right hand +of Mary, with the basin of water, runs the strong main line which +gives character to the drawing. The child links the two larger figures +together, by stretching out a hand to each. The group of cloud-borne +angels above also follows a diagonal direction parallel to the larger +group. We shall presently see that the painter used the same method of +composition in another picture. + +The opening beyond the copse, where the donkey is tied, makes the spot +seem less gloomy and isolated. It is an important principle of art to +represent no enclosed place without a glimpse of light in the +background. + + + + +X + +ECCE HOMO + + +The old Hebrew prophet who wrote of the coming Messiah predicted that +he should be "despised and rejected of men, a man of sorrows, and +acquainted with grief." How fully the prophecy was realized, we may +read in the narrative of the trial and crucifixion of Jesus. + +The enemies of Jesus had to deal with their prisoner according to the +formality of the Roman law. They brought him to the Roman governor, +Pontius Pilate, accusing him of "perverting the nation, and forbidding +to give tribute to Cæsar, saying that he himself is Christ, a +king."[22] The governor duly examined Jesus, but, finding no case +against him, proposed to scourge him and let him go. + +[Footnote 22: St. Luke, chapter xxiii., verse 2.] + +"Then Pilate therefore took Jesus and scourged him. And the soldiers +platted a crown of thorns and put it on his head, and they put on him +a purple robe, and said, Hail, King of the Jews! and they smote him +with their hands. Pilate therefore went forth again, and saith unto +them, Behold, I bring him forth to you, that ye may know that I find +no fault in him. + +"Then came Jesus forth, wearing the crown of thorns, and the purple +robe. And Pilate saith unto them, Behold the man! When the chief +priests therefore and officers saw him, they cried out, saying Crucify +him, Crucify him."[23] Pilate again sought to release Jesus, but the +people continued to clamor, "Away with him," "Crucify him." "Then +delivered he him therefore unto them to be crucified."[24] + +[Footnote 23: St. John, chapter xix., verses 1-6.] + +[Footnote 24: _Ib._, verse 16.] + +The Latin form of Pilate's words, "Behold the man," has given the +title "Ecce Homo" to our picture. It is the moment when Jesus comes +forth from the rude mockery of the soldiers, clad in a royal robe, and +wearing the crown of thorns. The governor has bidden one of the +soldiers lead the prisoner out on a balcony of the palace. An eager +throng of people are waiting outside, but they are not all enemies. +Among them are a few faithful women, and they are allowed to press +close to the balcony. At the sight of her son, treated as a criminal +with bound hands, the mother, Mary, falls swooning over the +balustrade, supported by a younger woman. + +Pilate standing in the doorway behind appeals to the crowd: "I find no +fault in him. Behold the man." He has been deeply impressed by his +interview with Jesus, and is willing to do something in his behalf. +His face is good-natured, we see, but with no strength of character in +it. He is a handsome man with curling beard carefully trimmed, +apparently not a hard man to deal with, but easy-going and selfish. + +[Illustration: ECCE HOMO +_National Gallery, London_] + +Jesus stands with drooping head and an expression of suffering +resignation. In the menacing faces before him he sees the hatred which +will be satisfied with nothing less than his death. Already he hears +the cruel cry, "Crucify him, crucify him." His badge of kingship is +the crown of suffering. Were his kingdom of this world, his servants +would deliver him from his enemies. As the ruler of a heavenly +kingdom, he was born "to bear witness unto the truth." + +The rich mantle, which the soldiers have mockingly thrown over his +shoulders, falls away and shows the body as it had been bared for the +scourging. It is a beautiful form, perfectly developed, and the arms +and hands are as delicately modelled as a woman's. The face is oval, +with regular features of classic mould, a short parted beard, and long +hair falling in disordered curls about it. This is the typical face of +Christ, as it has been handed down from generation to generation since +early in the Christian era. The rude pictures in the catacombs are on +the same model. So faithfully has the type been followed through the +centuries, some believe that the original must have been an authentic +likeness.[25] + +[Footnote 25: See _Rex Regum_, by Sir Wyke Bayliss.] + +The mother Mary is still young and beautiful. As the great +Michelangelo said, "Purity enjoys eternal youth."[26] A heavy veil or +mantle is draped over her head, framing the pure profile of her face. +This form of drapery is common among the old masters in painting Mary +as _Mater Dolorosa_, or the Sorrowing Mother. + +[Footnote 26: See the volume on Michelangelo in the _Riverside Art +Series_, page 35.] + +Artistically considered, this figure of the fainting mother is the +finest thing in the picture. Her companion, probably Mary Magdalene, +is also a lovely creature, though we see only a part of her face. + +The subject is in tragic contrast to the illustrations we have just +been studying. It seems strange to connect this Man of Sorrows with +the happy boy we saw by the woodland spring, or this grief-stricken +woman with that proud young mother. Correggio himself, we know, shrank +from such sad themes. + +Like the picture of The Marriage of St. Catherine, our illustration +shows how skilfully Correggio painted hands. The drooping fingers of +the Saviour taper delicately, with long almond-shaped nails. Pilate's +hand has slender, flexible fingers like those of some dainty woman, +and might be mated with that of Mary Magdalene. It is apparent that +the study of hands and feet interested our painter more than that of +faces. We shall lose much in his pictures if we do not give special +attention to these features. In the case before us, the face of Christ +must be less attractive, on account of the sorrowful expression. To +make up, as it were, for this, the hands are brought into prominent +notice, and are very beautiful. + + + + +XI + +APOSTLES AND GENII + + +The glory of Parma is the Cathedral, which represents the labors of +many centuries. The building itself was begun in 1058, and completed +in the thirteenth century. The interior was beautified by a succession +of artists, one of whom was our painter Correggio. His work here was +the decoration of the cupola, and he began it immediately upon +finishing the frescoes in the church of S. Giovanni Evangelista. + +The Cathedral dome is octagonal in shape. In the roof, or topmost +space, the Virgin Mary seems borne on circling throngs of saints and +angels to meet the Saviour in the upper air. Below the dome runs a +cornice, or frieze, in eight sections, filled with figures of apostles +gazing upon the vision. Still lower are four decorated pendentives, +similar to those in the church of S. Giovanni Evangelista. These +contain respectively the four patron saints of Parma. + +To the spectator looking up from below, the effect is of "a moving +vision, rapturous and ecstatic." A multitude of radiant figures sweep +and whirl through the heavenly spaces. "They are upon every side, +bending, tossing, floating, and diving through the clouds, hovering +above the abysmal void that is between the dome and the earth below +it."[27] Wonderful indeed is the triumph of the painter's art in this +place. "Reverse the cupola and fill it with gold, and even that will +not represent its worth," said Titian. + +[Footnote 27: E. H. Blashfield in _Italian Cities._] + +Our illustration shows a portion of the octagonal cornice. The design +is a simulated balcony ornamented with tall candelabra. In front stand +the apostles grouped in twos at the corners. On the top of the +balustrade, in the spaces between the candelabra, sport a band of +genii, or heavenly spirits. + +The four apostles are men of giant frames with broad shoulders and +stalwart limbs. They are of middle age, heavily bearded, and all look +much alike. It would be impossible to call one Peter, and another +Paul, or to identify any particular persons. Evidently it was not the +intention of the artist to distinguish individuals. All the figures +are turned with lifted faces towards the vision in the dome. Each +expresses, by a gesture, the wonder, joy, rapture, or admiration +aroused by the spectacle. Their attitudes are somewhat extravagant and +self-conscious. The drapery, too, is rather fantastic, flung about +their figures, leaving arms and legs bare. Were the picture taken out +of its surroundings it would scarcely suggest a Christian subject. +These colossal beings are like Titans moving through the figures of a +sacred dance, and murmuring the mystic incantations of some heathen +rite. + +[Illustration: APOSTLES AND GENII +_Cathedral, Parma_] + +But we must not press our interpretation too far. The panel should be +studied for its decorative quality as a part of a larger scheme. +Viewed from below, this procession of figures must be exceedingly +effective. The emphasis of lines is diagonal, flowing in the direction +of the focal point of the whole decoration. + +The genii of the balustrade are beings of Correggio's own creation. +His imagination called forth a world of spirits without a counterpart +in the work of any other painter. Lacking the wings usually given in +art to angels, they also lack the proper air of sanctity for heavenly +habitants. Yet they are far too ethereal for mortals. Neither angel +nor human, they are rather sprites of elf-land. With their tossing +hair and agile motions they remind us of woodland creatures, and they +look shyly out of their eyes like the furtive folk of the forest. + +They are sportive, but not mischievous, in the human sense. They +frolic in the pure delight of motion. By mortal standards of age they +are between childhood and youth, when limbs are long and bodies +supple. Their only draperies are narrow scarfs which they twist about +them in every conceivable way. + +Of the seven figures seen in our illustration, two only have any +ostensible purpose to serve. One seems to be lighting a candelabrum +with a flambeau; another carries a bowl which may be used for incense. +The others are idlers. If they have any duties as acolytes, these are +for the moment forgotten. Several are attracted by the ceremonies in +the cathedral and look down from their high perch upon the worshipping +congregation. + +The sprite at the extreme right is seated, and peeps over his shoulder +with a rather dreamy expression. Next come two who are playing +together, one throwing up his left arm as if to balance himself. +Beyond the candelabrum is one whose parted hair and coquettish pose of +the head give a feminine look to the figure. The sprite in the centre +of the balustrade is the most winsome of the company. His bright eyes +have spied out some one in the congregation, and stooping, he points +directly at the person. His expression is very roguish. The little +fellow with the flambeau is at the left, and last is one whose face is +turned away towards the imaginary space behind the balcony. + +Our illustration gives us a general idea of Correggio's decorative +method. The human body was his material; his patterns were woven of +nude figures, posed in every possible attitude. Every figure is in +motion, and the whole multitude palpitates with the joy of living. + + + + +XII + +ST. JOHN THE BAPTIST + + +In one of the pendentives of the cupola in the Parma Cathedral is the +figure of St. John the Baptist reproduced in our illustration. The +background is made to resemble somewhat the interior of a shell. On +billows of clouds sits the prophet, with a lamb in his arms, and a +circle of angels playing about him. + +St. John the Baptist was a cousin of Jesus, and the first to recognize +the true character of the carpenter's son. While Jesus was still +living in obscurity in Nazareth, John went forth to preach in the +wilderness about the river Jordan. His manner of life was very +singular. He "had his raiment of camel's hair and a leathern girdle +about his loins; and his meat was locusts and wild honey."[28] + +[Footnote 28: St. Matthew, chapter iii., verse 4.] + +The preacher was stern in denouncing sin and in warning evil-doers of +the wrath to come. The burden of all his sermons was, "Repent, for the +kingdom of heaven is at hand." When the people asked him what they +ought to do, his answers were full of common sense. "He that hath two +coats, let him impart to him that hath none; and he that hath meat, +let him do likewise." To the tax-collectors, he said, "Exact no more +than that which is appointed you;" to the soldiers, "Do violence to no +man, neither accuse any falsely."[29] + +[Footnote 29: St. Luke, chapter iii.] + +The authorities sent from Jerusalem to question the claims of the +strange preacher; but his reply was in the words of the old Hebrew +prophet, "I am the voice of one crying in the wilderness."[30] + +[Footnote 30: St. John, chapter i., verse 23.] + +It was the custom of John to baptize his converts in the river Jordan. +One day Jesus presented himself for baptism, and John saw in him one +whose shoe's latchet he was not worthy to unloose. At once he +proclaimed him to the people as the "Lamb of God who taketh away the +sins of the world."[31] + +[Footnote 31: _Ib._, verse 29.] + +With the entrance of Jesus upon his ministry, John's work was +fulfilled. "He must increase, but I must decrease," said the prophet +humbly.[32] He was soon after cast into prison by King Herod, whose +vices he had openly rebuked. Thence he was taken out only to be +executed. + +[Footnote 32: St. John, chapter iii., verse 30.] + +It must be confessed that Correggio cared very little about making a +true character study of St. John. There is not much in the figure of +our pendentive to suggest the stern and fearless prophet of the +wilderness. The humility of the countenance is perhaps the feature +most appropriate to the character. The shy, haunting expression in the +eyes is, too, such as belongs to one who, like St. John, lived much +alone in the woods. The tunic is short and sleeveless, showing the +strong limbs of the hermit. + +[Illustration: ST. JOHN THE BAPTIST +_Cathedral, Parma_] + +For the rest, the Baptist's face has the same gentle amiability we +have already seen in St. Matthew and Joseph. The type is a common one +with Correggio. A certain resemblance runs through nearly all his male +figures, whether of smooth-faced youth, bearded manhood, or hoary old +age. + +The tenderness of St. John for his little lamb is the chief motive of +the picture. He carries it on his left arm, supporting the weight on +his knee, and the innocent creature puts its nose close to the +prophet's face. The lamb is the accepted symbol of St. John the +Baptist, in allusion to the words with which he addressed Jesus at the +Jordan, "Behold the lamb of God." The same figure is used in the book +of Revelation, where the Lamb is described "in the midst of the +throne." Standing for the person of Christ himself, St. John holds the +sacred emblem with reverence. To understand why his face is lifted in +this direction we must remember that his glance is directed toward the +vision in the dome just above. + +The angel figures of this pendentive are among the most beautiful and +characteristic of the myriad throng of the cupola. The impression made +by this great spirit company upon one standing beneath the dome has +been described in some lines by Aubrey de Vere:-- + + "Creatures all eyes and brows and tresses streaming, + By speed divine blown back; within all fire + Of wondering zeal, and storm of bright desire. + Round the broad dome the immortal throngs are beaming, + With elemental powers the vault is teeming; + We gaze, and gazing join the fervid choir, + In spirit launched on wings that ne'er can tire." + +While the spirits in the upper part of the cupola are massed so +closely together that we do not see the full beauty of each one, these +in our picture may be studied separately. There are six in all, and +their purpose is to call the attention of the worshippers to the +prophet. The two in the rear, whose bodies are hidden in the clouds, +gaze upon him adoringly. One on each side points with outstretched +finger to the lamb, as if repeating the Baptist's words, "Behold the +lamb of God." The angel astride the cloud in front was interrupted in +the same task by a little fellow suddenly shooting out from the clouds +beneath him. He peers into the opening at one side, but still lifts +his left hand towards the prophet above him. + +The six figures are arranged in a semicircle, and their slender limbs +and lithe bodies trace rhythmic lines of grace. The most charming of +the company is perhaps he at the right, whose eyes meet ours with a +bewitching smile. + + + + +XIII + +CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN + +(Noli me tangere) + + +It was Sunday, the third day after the crucifixion of Jesus. Early in +the morning, while it was yet dark, a young woman made her way to the +rock-hewn tomb in the garden of Joseph of Arimathea. It was Mary +Magdalene, whom Jesus had rescued from a life of sin. Much had been +forgiven her, therefore she loved much. In her sorrow she came to +visit the spot where the body of her crucified Master had been laid. + +Great was her surprise to find that the stone placed at the entrance +of the tomb had been rolled away. In her perplexity, she ran to tell +the disciples Peter and John. They all hurried back together to the +garden, and the two men, entering the tomb, found it empty. Unable to +explain the mystery, they presently returned home, leaving Mary still +standing without the sepulchre weeping. + +"And as she wept, she stooped down, and looked into the sepulchre, and +seeth two angels in white sitting, the one at the head, and the other +at the feet, where the body of Jesus had lain. And they say unto her, +Woman, why weepest thou? She saith unto them, Because they have taken +away my Lord, and I know not where they have laid him. + +"And when she had thus said, she turned herself back, and saw Jesus +standing, and knew not that it was Jesus. Jesus saith unto her, Woman, +why weepest thou? whom seekest thou? She, supposing him to be the +gardener, saith unto him, Sir, if thou have borne him hence, tell me +where thou hast laid him, and I will take him away. Jesus saith unto +her, Mary. She turned herself, and saith unto him, Rabboni; which is +to say, Master. + +"Jesus saith unto her, Touch me not; for I am not yet ascended to my +Father: but go to my brethren, and say unto them, I ascend unto my +Father, and your Father; and to my God, and your God."[33] + +[Footnote 33: Chapter xx. of the Gospel according to St. John, verses +11-17.] + +Our picture illustrates the story of that first Easter morning. Jesus +has greeted Mary by name, and she has instantly recognized the Master. +Sinking on her knees, she would have impulsively stretched out her +hands to him, but he repels her with a gesture. Awe-struck, she gazes +into his face, while he explains the message she is to carry to the +disciples. + +[Illustration: CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI +ME TANGERE) +_Prado Gallery, Madrid_] + +The risen Lord is clad in but one garment, a heavy mantle, knotted at +the waist. The upper part is slipping from his shoulders, leaving the +torso bare. The beauty of the form reminds us of a Greek statue. On +the ground beside him are some garden tools, a hoe and a spade, and +beyond these lies a straw hat. These things explain why Mary, blinded +and confused with weeping, supposed that it was the gardener who spoke +to her. + +The Master's attitude and gesture emphasize the meaning of his words. +The body sways slightly to one side, as if shrinking from Mary's +touch. He still holds his right hand outstretched, as when he said +"Touch me not." And now he raises his left arm, and pointing +heavenward declares that he is about to ascend to his Father. He seems +to speak gently as to a child, and looks down into Mary's face with a +smile. + +The young woman is richly arrayed in a brocade dress, cut so as to +show her beautiful neck and arms. A mass of wavy golden hair falls +over her shoulders and upon her bosom. Her tapering wrists and +delicate hands indicate gentle blood, but her features are somewhat +heavy, and the face would not attract us by its beauty. The rapt +expression of devotion is what makes it interesting. The whole +attitude expresses complete self-forgetfulness. + +The lithe and youthful figure of Christ recalls the boy we saw in a +former picture journeying from Egypt. We can see that this is the man +into whom that child is grown. We note again the high full forehead +over which the parted hair is brushed in curves. Again, too, we see +the small mouth with the gentle smile. The figure in general features +resembles the Christ type which is illustrated in the picture of Ecce +Homo. + +In painting the figure of the risen Christ, the old masters were +accustomed to give prominence to the nail prints in hands and feet, +and the wound in his side. Correggio has not done this. Such signs of +suffering were inconsistent with the joyous nature of his art. The +subject of the picture is entirely a happy one, and he has kept out of +it all evidences of the crucifixion, emphasizing rather the idea of +the ascension. + +In some artistic points our picture resembles the Madonna della +Scodella. The pose of Christ is similar to that of Joseph, with one +arm lifted up, and the other reaching down. Thus is formed the +diagonal line which is at the basis of the composition. The right arm +of Mary carries the line on to the lower corner of the picture. + +The landscape setting makes a spacious background, and a large tree +behind Christ throws his figure into relief. + + + + +XIV + +THE MADONNA OF ST. JEROME + +(Il Giorno) + + +It is a bright clear day, and a baby boy is having a rare frolic out +of doors, on his mother's knee. It is the little Christ-child, and his +visitors are St. Jerome and Mary Magdalene. Overhead a red cloth +drapery has been stretched from tree to tree, making a sort of canopy +to protect the company from the direct rays of the sun. St. Jerome has +brought as an offering the books which represent the scholarly toil of +many years. Mary Magdalene has her jar of ointment for the anointing +of the Saviour's feet. + +The mother sits on a slight elevation in the centre, her bare foot +resting on the ground. St. Jerome 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, stoops to caress a little +foot. The sturdy old father seems to have come directly from his +monastery in Bethlehem, and his lion follows him like a faithful dog. +The old legend relates that as he sat one evening at his monastery +gate, a lion approached, holding up a paw which was pierced with a +thorn. The good father removed the thorn and dressed the wound, and +the grateful beast became thenceforth the constant companion of his +benefactor. + +The scroll in St. Jerome's right hand may be any one of his many +treatises or translations. The large open volume is undoubtedly his +Latin version of the Bible. One side of the book is supported on his +left hand, while the other is held by an attendant angel, who turns +the pages for the Christ-child. There is something very interesting on +the page now open, and the angel points a slender finger to a +particular passage. The child is wrought up to the highest pitch of +excitement. He stretches out his legs and arms, his whole body +stiffening in a tremor of joy. He fairly pants with eagerness for the +treasure just beyond his grasp. Though not a pretty boy, he is so full +of life that we find him very captivating. + +Old St. Jerome looks immensely pleased with the child's delight. The +angel playfellow is delighted with his success in amusing the baby, +and laughs sympathetically with him. The mother smiles with gentle +indulgence, and holds him firmly lest he spring from her arms. Mary +Magdalene appears almost unconscious of what is going on. Her whole +being is absorbed in loving devotion. She 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 +over her neck. In throwing out his arms, the child's left hand has +fallen on the golden head, and here it rests as if he returned the +caress. In the mean time a mischievous urchin, who may be the boy +Baptist, holds the Magdalene's jar of ointment. He stands behind her +like a small lackey, and sniffs curiously at the contents of the pot. + +[Illustration: THE MADONNA OF ST. JEROME +_Parma Gallery_] + +If it seems strange that St. Jerome and Mary Magdalene should be here +together, we must remember that the painters of Correggio's time did +not try to represent sacred scenes with historical accuracy. It was +customary to bring together in a picture persons who lived in +altogether different periods and countries. The meaning of such +pictures was symbolic. The Christians of all ages constitute a +communion of the saints who meet at the Christ-child's feet. + +The two saints here make a fine artistic contrast,--the rugged and +grizzled old man, and the lovely golden-haired maiden. The splendid +muscular strength of the one is offset against the radiant beauty of +the other. In a devotional sense also the contrast is most +appropriate. St. Jerome has served the Christ with great powers of +intellect; Mary Magdalene brings only a woman's loving heart. The one +has written great books; the other could do nothing but anoint the +Saviour's feet. Yet the two kinds of service are equally important. +St. Jerome's translations have carried the gospel over the world, and +it is written that "Wheresoever this gospel shall be preached in the +whole world, there shall also this, that this woman hath done, be told +for a memorial of her."[34] + +[Footnote 34: St. Matthew, chapter xxvi., verse 13.] + +The composition of the picture is on a diagonal plan similar to that +which we have already noticed in his pictures.[35] The structural line +may be traced from the top of St. Jerome's head across the shoulders +and back of Mary Magdalene. The edge of the canopy overhead emphasizes +this line by following the same general direction. The child's figure +behind the Magdalene balances the figure of the lion in the left +corner. + +[Footnote 35: See chapters IX. and XIII.] + +The landscape which lies beyond the canopy is an important and +beautiful part of the picture. Without this spacious distance in the +background the large figures filling the foreground would crowd the +composition unpleasantly. It is a relief to the eye to traverse this +stretch of sunny country. + +The picture makes it possible for us to understand why Correggio has +been called a painter of "light and space and motion." All three +characteristics are admirably illustrated here. In color, too, the +original painting is very fine. The Virgin wears the usual red robe +and blue mantle, the colors denoting love and constancy. St. Jerome +has a blue drapery about the hips and a crimson mantle, while the +angel's tunic and Mary Magdalene's mantle are yellow. + +It is the clear golden atmosphere flooding the scene which gives it +the Italian name of "Il Giorno," The Day. + + + + +XV + +CUPID SHARPENING HIS ARROWS + +(Detail of Danaë) + + +In the imagination of the ancient Greeks all human love was inspired +by the goddess Aphrodite, Venus, aided by her son, the little archer +Cupid. It was Cupid's office to shoot the arrows of affection. Being a +mischievous fellow, he took delight in aiming his shafts at the +unsuspecting. Often his victims were so oddly chosen that it seemed as +if the marksman had shot at random. Some believed that he did his work +blindfolded. + +The poets describe Cupid as a beautiful winged boy carrying a bow and +a quiver of arrows, and sometimes a torch. He flew at will through the +wide universe, but he loved best the island of Cyprus, which was his +mother's first home. "His head has goodly curls," wrote Moschus,[36] +"but impudent is the face he wears; his little hands are tiny, 'tis +true, yet they shoot far.... Small is his arrow, yet it carries even +to the sky.... He is naked indeed, so far as his body is concerned, +but his mind is shrouded. And being winged as a bird he flies upon now +one party of men and women and now another, and settles on their +inmost hearts." + +[Footnote 36: In the first idyl, translated by J. Bank.] + +The mingled pain and delight caused by a wound of love is explained by +the fact that Cupid's arrows were tipped with gall and honey. The way +in which they were fashioned is variously described by the poets. +Anacreon has it that they were made at the forge of Vulcan, the +husband of Venus, and the blacksmith of the gods. One of this poet's +odes relates how-- + + "In the Lemnian caves of fire + The mate of her who nursed Desire + Moulded the glowing steel to form + Arrows for Cupid thrilling warm; + While Venus every barb imbues + With droppings of her honeyed dews; + And Love (alas the victim heart) + Tinges with gall the burning dart."[37] + +[Footnote 37: In Moore's translation.] + +A slightly different explanation is given by the Latin poet +Claudian:-- + + "In Cyprus' isle two rippling fountains fall + And one with honey flows, and one with gall; + In these, if we may take the tale from fame, + The son of Venus dips his darts of flame." + +However the story may run, there is but one ending. The victim of the +love-god's arrow confesses that "loving is a painful thrill," but "not +to love, more painful still." + +[Illustration: CUPID SHARPENING HIS ARROWS (DETAIL OF DANAË) +_Borghese Gallery, Rome_] + +So bold was the little archer that the mightiest could not withstand +his arts. The war-god Mars, bringing his spear one day to Vulcan's +forge, smiled contemptuously at the light shafts of Cupid. "Try it," +said little Love, handing him one. Whereupon the foolish fellow cried +out in an agony of pain, and begged Cupid to take the arrow back. +Apollo, the archer of the sun, was equally imprudent, and was richly +punished for his sneers. An arrow from the fatal quiver made him mad +with unrequited love for the nymph Daphne. A being who could give so +much pain and pleasure was at once to be loved and feared. Hence all +paid homage-- + + "To Love, for heaven and earth adore him + And gods and mortals bow before him." + +In our picture, Cupid looks just as the poets have described him, a +beautiful baby boy with wings and "goodly curls." Only the milk and +honey of Cyprus could have made the little body so plump. A deep +crease marks the line of his wrist, a soft fold of flesh the neck. The +full quiver lies on the table beside him, and he is sharpening one of +the darts.[38] A little companion helps him hold the whetstone steady +while he presses the arrow tip upon its surface. Some lines of Horace +come to mind describing-- + + "Cupid sharpening all his fiery darts + Upon a whetstone stained with blood of hearts." + +[Footnote 38: Vasari says that Cupid is trying the arrow on a stone.] + +Cupid's companion is as like him as a twin, save that he has no wings. +He may be a human playfellow of the little god, or one of the brood of +loves with which the poets have peopled Cyprus. While the original +myth told of only one Cupid, imagination has multiplied his kind. We +read of the "playful rout of Cupids" attendant upon the love-god, who +rules as sovereign among them. + +The two children of the picture are intent upon their task. The very +seriousness of their manner argues some mischief in view. Evidently +they are preparing for a great conquest. The arrow must not fail of +its work, but must be sharp enough to carry the sweet poison straight +to the victim's heart. + +Both of the chubby fellows have rather large heads with clustering +ringlets. The wingless boy has the high, full forehead which marks an +active mind. Cupid seems to have the more energetic temperament of the +two, while his comrade is a bit of a dreamer. + +Our picture is a charming illustration of Correggio's love of +children. As it was not the fashion of his time to paint children's +portraits, he had to make his own opportunities for the favorite +subject. How ingenious he was we have had occasion to see in our +study. When given a sacred subject to paint he filled all the +available spaces with child angels sporting in the clouds. With the +ceiling of a room to decorate, he covered the whole surface with a +band of little boys at play. + +Our reproduction is a detail of a larger picture illustrating the myth +of Danaë. The two little figures are in the lower right corner of the +canvas. + + + + +XVI + +A SUPPOSED PORTRAIT OF CORREGGIO + + +Almost every celebrated painter has at some time in his life sat for +his portrait. Many have painted their own likenesses, not so much from +motives of vanity, but as a matter of artistic interest. Others have +posed as models to their fellow painters. + +Correggio was an exception in this regard. The old biographer Vasari +made many efforts to procure a portrait, and concluded that "he never +took it himself, nor ever had it taken by others, seeing that he lived +much in retirement." + +Our painter, as we have seen, was not a student of the face. Form and +expression did not greatly interest him. He busied himself chiefly +with problems of light and shade. This is perhaps the reason why he +never thought it worth while to paint his portrait. He was not a +traveller, and probably never visited any of the great art centres of +his time. So he made no friends among the contemporary painters who +would have been likely to make his portrait. In any case his busy life +left little time for any work for himself, and if he thought at all of +a portrait, he doubtless postponed it to some more convenient season. +Waiting for such a time, his career was brought suddenly to an end. He +died of fever in Correggio at the age of forty. + +In the passing centuries one picture after another has been put +forward as a pretended portrait of Correggio. The painter's admirers +were always eager to believe that a real likeness had at last been +discovered. Though we cannot rely upon the genuineness of any of +these, some are very interesting. + +Such an one is our frontispiece, from a painting in the Parma Gallery, +pointed out as Correggio's portrait. Whoever the original may have +been, the expression is certainly animated and intelligent. There is +much humor and kindliness in the face. The unknown artist should have +the credit for the gift of revealing the individual character of his +sitter. + +Lacking an authentic portrait of the man Correggio, we have to content +ourselves with the short account of his character given by Vasari. "He +was a person," writes the biographer, "who held himself in but slight +esteem, nor could he ever persuade himself that he knew anything +satisfactorily respecting his art; perceiving its difficulties, he +could not give himself credit for approaching the perfection to which +he would so fain have seen it carried; he was a man who contented +himself with very little, and always lived in the manner of a good +Christian." + + + + +PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + +The Diacritical Marks given are those found in the latest edition of +Webster's International Dictionary. + + +EXPLANATION OF DIACRITICAL MARKS. + + +A Dash (¯) above the vowel denotes the long sound, as in fāte, ēve, + tīme, nōte, ūse. +A Dash and a Dot (-̇) above the vowel denote the same sound, less + prolonged. +A Curve (˘) above the vowel denotes the short sound, as in ădd, ĕnd, + ĭll, ŏdd, ŭp. + +A Dot ( ̇) above the vowel a denotes the obscure sound of a in pȧst, + ȧbāte, Amĕricȧ. + +A Double Dot (¨) above the vowel a denotes the broad sound of a in + fäther, älms. + +A Double Dot (..) below the vowel a denotes the sound of a in ba̤ll. + +A Wave (~) above the vowel e denotes the sound of e in hẽr. + +A Circumflex Accent (^) above the vowel o denotes the sound of o in bôrn. + +A dot (.) below the vowel u denotes the sound of u in the French language. + +N indicates that the preceding vowel has the French nasal tone. + +G and K denote the guttural sound of ch in the German language. + +th denotes the sound of th in the, this. + +ç sounds like s. + +c̵ sounds like k. + +ṣ̱ sounds like z. + +ḡ is hard as in ḡet. + +ġ is soft as in ġem. + + +Allegri (äl-lā'grē). + +Altius cæteris Dei patefecit arcana (äl'tḗ-ŏŏs kī'tā̇̇-rḗs dā'ē + pä-tā-fā'-kĭt är-kä'nä). + +Ambrose (ăm'brōz). + +Anacreon (ăn-ăk'rḗ-ŏn). + +Antonio (än-tō'nē-ō). + +Apollo (ȧ-pŏl´lō). + +Aphrodite (ăf-rṓ-dī'tē). + +Artemis (är'tē-mĭs). + +Arimathea (Ăr-ĭ-mȧ-thē´ȧ). + +Athena (ă-thē'nȧ). + +Augustine (a̤'gŭs-tēn). + +Aurora (a̤-rō'rȧ). + +Austin (a̤s'tĭn). + + +Bayliss, Wyke (wĭk bā'lĭs). + +Bethlehem (Bĕth'lēhĕm). + +Berenson (bā'rĕn-sŏn). + +Blashfield (blăsh'fēld). + +Burckhardt (bōōrk'härt). + + +Cæsar (sē'zȧr). + +candelabrum (kăn-dḗ-lā'brŭm). + +Carthage (kär'thāj). + +Catherine (kăth'ĕr-ĭn). + +Caxton (kăks'tŭn). + +Cavaliere (kä-vä-lē-ā'rā̇̇). + +chiaroscuro (kyä-rṓ-skōō'rṓ). + +Cicerone (chē-chā-rō'nā̇̇). + +Claudian (cla̤'dĭ-ā̇̇n). + +Correggio (kŏr-rĕd'jō). + +Costus (kŏs'tŭs). + +Comus (kō'mŭs). + +Cupid (Cū'pĭd). + +Cyprus (sī'prŭs). + + +Dalmatian (dăl-mā'shȧn). + +Danaë (dā'nā̇̇-ē). + +Daphne (dăf'nē). + +Diana (dī-ăn'ȧ _or_ dī-ā'nȧ). + + +Ecce Homo (ĕk'kĕ _or_ ĕk'sḗ hō'mō). + +Egypt (ē'jĭpt). + +Endymion (ĕn-dĭm'ĭ-ŭn). + +Ephesus (ĕf'ḗ-sŭs). + +Ezekiel (ē-zē'kĭ-ĕl). + + +Galilee (găl'ĭ-lē). + +Giorno, Il (ēl jôr'nō). + +Giovanni Evangelista (jō̇-vän'nē̇ ā-vän-jā-lēs'tä). + +Guido Reni (gwē'dō rā'nē). + + +Hazlitt (Hăz'lĭtt). + +Heilige Nacht (hī'lḗG-ŭ näKt). + +Heaton (hē'tŭn). + +Herod (Hĕr'ŏd). + +Hesperus (Hĕs'pẽrŭs). + +Hippo (Hĭp'pō). + +Horace (hôr'ā̇̇s). + + +Ignem gladio ne fodias (ḗg'nĕm glä'-dḗ-ō nā fō'dḗ-äs). + +Israel (ĭz'rā̇-ĕl). + + +Jameson (jā'mĕ-sŭn). + +Jerome (jē̇-rōm' _or_ jĕr'ŏm). + +Jerusalem (Jĕrū'sȧlĕm). + +Jordan (Jôr'dȧn). + +Judæa (jū̇-dē̇'ȧ). + + +Keats (kēts). + +Kugler (kōōg'lẽr). + + +Layard (Lāy'ȧrd). + +Lemnian (Lĕm'nĭȧn). + + +Madonna (Mȧdŏn'nȧ). + +Magdalene (Măg'dā̇-lē̇n). + +Marcella (mär-sĕl'ȧ). + +Matthew (mă'thū). + +Mater Dolorosa (mā'tẽr dŏl-ṓ-rō'sȧ _or_ mä'tār dō-lō-rō'sä). + +Maxentius (măks-ĕn'shĭ-ŭs). + +Mars (Märs). + +Meyer (mī'ẽr). + +Michelangelo (mē-kĕl-än'jā̇-lō). + +Milan (mĭl'ȧn _or_ mĭ-lăn'). + +Monica (Mŏn'ĭcȧ). + +Moore (mōr _or_ mōōr). + +Moschus (mŏs'kŭs). + +Morelli (mō-rĕl'ḗ). + + +Nazareth (Năz'ȧrĕth). + +Nicodemus (nĭk-ō-dē'mŭs). + +Noli me tangere (nō'lḗ mā tän'gā̇̇-rā̇̇ _or_ nō'lī mē tăn'jĕ-rḗ). + +Notte, La (lä nōt'tā̇̇). + +Numidia (Nūmĭd'ĭȧ). + + +Palestine (Păl'ĕstīne). + +Paolo (Pä'ōlō). + +Parma (Pär'mä). + +Patmos (Păt'mŏs). + +Paula (pa̤'lȧ). + +Pharisee (făr'ĭ-sē). + +Piacenza (pē-ä-chĕn'dzä). + +Plato (Plā'tō). + +Pontius Pilate (pŏn'shĭ-ŭs pĭ'lāt). + +putti (pŏŏt'tē). + + +Rabboni (Răbbō'nĭ). + +Raphael (rä'fā-ĕl). + +Rex Regum (rāks rā'gōōm). + +Ricci, Corrado (kōr-rä'dō rēt'chē). + +Ruskin (Rŭs'kĭn). + + +Sala del Pergolato (sä'lä dĕl pair-gō-lä'tō). + +Scipione Montino (shē-pē-ō'nā̇̇ mōn-tē'nō). + +Scodella (skō-dĕl'lä). + +Sebastian (sḗ-băst'yȧn). + +Simmonds (sĭm'ŭndz). + +Symonds (sĭm'ŭndz). + +Syria (sĭr'ĭ-ȧ). + + +Te Deum (tā dā'ōōm _or_ tē dē'ŭm). + +Titan (tī'tȧn). + +Titian (tĭsh'ȧn). + + +Umbrian (ŭm'brĭ-ȧn). + + +Vasari (vä sä'rē̇). + +Venus (Vē'nŭs). + +Vere, Aubrey de (aa̤'brĭ dē vēr). + +Vulcan (Vŭl'cȧn). + +Vulgate (Vŭl'gāte). + + +Wordsworth (wẽrdz'wẽrth). + + +Zebedee (Zĕb'ĕdēē). + + * * * * * + + + + + +End of the Project Gutenberg EBook of Correggio, by Estelle M. 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You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Correggio + A Collection Of Fifteen Pictures And A Portrait Of The + Painter With Introduction And Interpretation + +Author: Estelle M. Hurll + +Illustrator: Correggio + +Release Date: August 29, 2006 [EBook #19143] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CORREGGIO *** + + + + +Produced by Juliet Sutherland, Sankar Viswanathan, and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + [Illustration: A SUPPOSED PORTRAIT OF CORREGGIO + _Parma Gallery_] + + + _Masterpieces of Art_ + + + + CORREGGIO + + A COLLECTION OF FIFTEEN PICTURES + AND A SUPPOSED PORTRAIT OF THE + PAINTER, WITH INTRODUCTION + AND INTERPRETATION + + + BY + + + ESTELLE M. HURLL + + + + + + BOSTON AND NEW YORK + HOUGHTON MIFFLIN COMPANY + The Riverside Press Cambridge + 1901 + + + COPYRIGHT, 1901, BY HOUGHTON, MIFFLIN & CO. + + * * * * * + + + + +PREFACE + + +To the general public the works of Correggio are much less familiar +than those of other Italian painters. Parma lies outside the route of +the ordinary tourist, and the treasures of its gallery and churches +are still unsuspected by many. It is hoped that this little collection +of pictures may arouse a new interest in the great Emilian. The +selections are about equally divided between the frescoes of Parma and +the easel paintings scattered through the various European galleries. + +ESTELLE M. HURLL. + +NEW BEDFORD, MASS. + +_December, 1901._ + + * * * * * + + + + +CONTENTS AND LIST OF PICTURES + + + A SUPPOSED PORTRAIT OF CORREGGIO (_Frontispiece_) + Picture from Photograph of the original painting + + INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST + +II. ON BOOKS OF REFERENCE + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE + +V. LIST OF CONTEMPORARY PAINTERS + +I. THE HOLY NIGHT (DETAIL) + Picture from Carbon Print by Braun, Clment & Co. + +II. _St. Catherine Reading_ + Picture from Photograph by Francis Ellis and W. Hayward, London + +III. THE MARRIAGE OF ST. CATHERINE + Picture from Carbon Print by Braun, Clment & Co. + +IV. CEILING DECORATION IN THE SALA DEL PERGOLATO (HALL OF THE VINE + TRELLIS) + Picture from Photograph by Fratelli Alinari + +V. DIANA + Picture from Photograph by Fratelli Alinari + +VI. ST. JOHN THE EVANGELIST + Picture from Photograph by Fratelli Alinari + +VII. ST. JOHN AND ST. AUGUSTINE + Picture from Photograph by D. Anderson + +VIII. ST. MATTHEW AND ST. JEROME + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +IX. THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) + Picture from Photograph by Fratelli Alinari + +X. ECCE HOMO + Picture from Carbon Print by Braun, Clment & Co. + +XI. APOSTLES AND GENII + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +XII. ST. JOHN THE BAPTIST + Picture from Photograph by Fratelli Alinari of the painting + in water color by P. Toschi + +XIII. CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) + Picture from Carbon Print by Braun, Clment & Co. + +XIV. THE MADONNA OF ST. JEROME + Picture from Carbon Print by Braun, Clment & Co. + +XV. CUPID SHARPENING HIS ARROWS (DETAIL OF DANA) + Picture from Photograph by Fratelli Alinari + +XVI. A SUPPOSED PORTRAIT OF CORREGGIO + + PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + + * * * * * + + + + +INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST. + + +The art of Correggio was very justly summed up by his first +biographer, Vasari. After pointing out that in the matter of drawing +and composition the artist would scarcely have won a reputation, the +writer goes on to say: "To Correggio belongs the great praise of +having attained the highest point of perfection in coloring, whether +his works were executed in oil or in fresco." In another place he +writes, "No artist has handled the colors more effectually than +himself, nor has any painted with a more charming manner or given a +more perfect relief to his figures." Color and chiaroscuro were +undoubtedly, as Vasari indicates, the two features of his art in which +Correggio achieved his highest triumphs, and if some others had +equalled or even surpassed him in the first point, none before him had +ever solved so completely the problems of light and shadow. + +Not only did he understand how to throw the separate figures of the +picture into relief, giving them actual bodily existence, but he +mastered as well the disposition of light and shade in the whole +composition. To quote Burckhardt, "In Correggio first, chiaroscuro +becomes essential to the general expression of a pictorially combined +whole; the stream of lights and reflections gives exactly the right +expression to the special moment in nature." + +The quality of Correggio's artistic temperament was essentially +joyous.[1] The beings of his creation delight in life and movement; +their faces are wreathed with perpetual smiles. Hence childhood and +youth were the painter's favorite subjects. The subtleties of +character study did not interest him; and for this reason he failed in +representing old age. He was perhaps at his best among that race of +sprites which his own imagination invented, creatures without a sense +of responsibility, glad merely to be alive. + +[Footnote 1: Tradition says that the temperament of the man himself +was exactly the reverse of that of the artist, being timid and +melancholy.] + +This temperament explains why the artist contented himself with so +little variety in his types. We need not wonder at the monotony of the +Madonna's face. She is happy, and this is all the painter required of +her psychically. He took no thought even to make her beautiful: the +tribute he offered her was the technical excellence of his art,--the +exquisite color with which he painted flesh and drapery, the +modulations of light playing over cheek and neck. With hair and hands +he took especial pains, and these features often redeem otherwise +unattractive figures. + +In his predilection for happy subjects Correggio reminds us of +Raphael. The two men shrank equally from the painful. But where the +Umbrian's ideal of happiness was tranquil and serene, Correggio's was +exuberant and ecstatic. Raphael indeed was almost Greek in his sense +of repose, while Correggio had a passion for motion. "He divines, +knows and paints the finest movements of nervous life," says +Burckhardt. + +Even when he sought to portray a figure in stable equilibrium, he +unwittingly gave it a wavering pose; witness the insecurity of Joseph +in the Madonna della Scodella, and of St. Jerome in the Madonna +bearing his name. Usually he preferred some momentary attitude caught +in the midst of action. In this characteristic the painter was allied +to Michelangelo, the keynote of whose art is action. + +It is a curious fact that two artists of such opposed natures--the one +so light-hearted, the other burdened with the prophet's spirit--should +have so much in common in their decorative methods. Both understood +the decorative value of the nude, and found their supreme delight in +bodily motion. In a common zeal for exploiting the manifold +possibilities of the human figure, the two fell into similar errors of +exaggeration. In point of design Correggio cannot be compared with +Michelangelo. He was utterly incapable of the sweeping lines +characteristic of the great Florentine. He seldom achieved any success +in the flow of drapery, and often his disposition of folds is very +clumsy. + +It is interesting to fancy what Correggio's art might have been had he +been free to choose his own subjects. Limited, as he was, in his most +important commissions, to the well-worn cycle of ecclesiastical +themes, he could not work out all the possibilities of his genius. +Nevertheless, he infused into the old themes an altogether new spirit, +the spirit of his own individuality. It is a spirit which we call +distinctly modern, yet it is as old as paganism. + +Among the works of the old Italian masters, Correggio's art is so +anomalous that it has inevitably called forth detractors. What to his +admirers is mere childlike sweetness is condemned as "sentimentality," +innocent playfulness as "frivolity," exuberance of vitality as +"sensuality." Certainly there is nothing didactic in his art. "Space +and light and motion were what Antonio Allegri of Correggio most +longed to express,"[2] and to these aims he subordinated all motives +of spiritual significance. One of his severest critics (Burckhardt) +has conceded that "he is the first to represent entirely and +completely the reality of genuine nature." He, then, who is a lover of +genuine nature in her most subtle beauties of "space and light and +motion," cannot fail to delight in Correggio. + +[Footnote 2: E. H. Blashfield in Italian Cities.] + + +II. ON BOOKS OF REFERENCE. + +The first biographer of Correggio was Vasari, in whose "Lives of the +Painters, Sculptors, and Architects" is included a brief account of +this painter. The student should read this work in the last edition +annotated by E. H. and E. W. Blashfield and A. A. Hopkins. Passing +over the studies of the intervening critics, Julius Meyer's biography +may be mentioned next, as an authoritative work, practically alone in +the field for some twenty-five years. This was translated from the +German by M. C. Heaton, and published in London in 1876. Finally, the +recent biography by Signor Corrado Ricci (translated from the Italian +by Florence Simmonds, and published in 1896) may be considered almost +definitive. It is issued in a single large volume, profusely +illustrated. The author is the director of the galleries of Parma, and +has had every opportunity for the study of Correggio's works and the +examination of documents bearing upon his life. + +General handbooks of Italian art giving sketches of Correggio's life +and work are Kugler's "Handbook of the Italian Schools," revised by A. +H. Layard, and Mrs. Jameson's "Early Italian Painters," revised by +Estelle M. Hurll. + +For a critical estimate of the art of Correggio a chapter in +Burckhardt's "Cicerone" is interesting reading, but the book is out of +print and available only in large libraries. In "Italian Cities," by +E. H. and E. W. Blashfield, a delightful chapter on Parma describes +Correggio's works and analyzes his art methods. Morelli's "Italian +Painters" contains in various places some exceedingly important +contributions to the criticism of Correggio's works. The author's +repudiation of the authenticity of the Reading Magdalen of the Dresden +Gallery has been accepted by all subsequent writers. + +Comments on Correggio are found in Symonds's volume on "The Fine Arts" +in the series "The Renaissance in Italy," and are also scattered +through the pages of Ruskin's "Modern Painters" and Hazlitt's "Essays +on the Fine Arts." The volume on Correggio in the series "Great +Masters in Painting and Sculpture" is valuable chiefly for a complete +list of Correggio's works. The text is based on Ricci.[3] + +[Footnote 3: As this book goes to press Bernard Berenson's "The Study +and Criticism of Italian Art" makes its appearance. A portion of it is +devoted to the study of Correggio.] + + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION. + +_Portrait frontispiece._ From a photograph of an alleged portrait of +Correggio in the Parma Gallery. + +1. _The Holy Night._(_La Notte._) (Detail.) Painted at the order of +Alberto Pratoneri for the altar of his chapel in the church of S. +Prospero, Reggio. Agreement signed October 10, 1522. Stolen from the +church May, 1640, and taken to Modena. Now in the Dresden Gallery. +Size of whole picture: 8 ft. 5 in. by 6 ft. 2 in. + +2. _St. Catherine Reading._ Conjectural date, 1526-1528. In Hampton +Court Gallery. Size: 2 ft. 1 in. by 1 ft. 8 in. + +3. _The Marriage of St. Catherine._ Date, according to Meyer, +1517-1519; according to Ricci, after 1522. Painted for the Grillenzoni +family of Modena. After several transfers it came into the possession +of Cardinal Mazarin, from whose heirs it was acquired for Louis XIV.'s +collection and hence became a permanent possession of the Louvre +Gallery, Paris. Size: 3 ft. 5-1/3 in. by 3 ft. 4 in. + +4 and 5. _Ceiling Decoration_, and _Diana_, in the Sala del Pergolata, +Convent of S. Paolo, Parma. Frescoes painted in 1518. + +6, 7, and 8. _St. John the Evangelist_, _St. John and St. Augustine_, +_St. Mark and St. Jerome_. Frescoes in the church of S. Giovanni +Evangelista, Parma. Painted 1520-1525. + +9. _The Rest on the Return from Egypt._ (_La Madonna della Scodella._) +According to Pungileoni painted 1527-1528; according to Ricci, +1529-1530. The frame containing the picture is supposed to have been +designed by Correggio himself. It bears the date 1530, when the +picture was placed in the church of S. Sepolcro, Parma. Taken as +French booty in 1796, but returned to Parma in 1816. Now in the Parma +Gallery. Size: 7 ft. 3 in. by 4 ft. 6 in. + +10. _Ecce Homo._ According to Ricci, painted during a visit to +Correggio, 1521-1522; probably first belonged to the Counts Prati, of +Parma. In the seventeenth century there were three pictures of the +subject in Italy claiming to be the original. This picture was +formerly in the Colonna family; now in the National Gallery, London. +Size: 3 ft. 2-1/2 in. by 2 ft. 7-1/2 in. + +11 and 12. _Apostles and Genii_, and _St. John the Baptist_. Frescoes +in the Cathedral of Parma. Painted 1524-1530. + +13. _Christ appearing to Mary Magdalene in the Garden._ (_Noli me +tangere._) Assigned by Ricci to 1524-1526. Described by Vasari as the +property of the Ercolani family of Bologna. Passing from one owner to +another, it was finally presented to Philip IV. of Spain, and is now +in the Prado Gallery, Madrid. Size: 1 ft. 3-1/3 in. by 1 ft. 6-1/2 +in. + +14. _The Madonna of St. Jerome._ (_Il Giorno._) Ordered in 1523 by +Donna Briseide Colla, for the church of S. Antonio, Parma. Painted +1527-1528, according to Ricci. After the destruction of this church it +was placed in the Cathedral for safety. Seized by Napoleon in 1796. +Finally returned to Parma, and now in the Parma Gallery. Size: 4 ft. 8 +in. by 6 ft. 10 in. + +15. _Cupid sharpening his Arrow._ (Detail of _Dana_.) Ordered +(1530-1533) by Federigo II., Duke of Mantua, as a gift for the Emperor +Charles V. After passing through many hands it came in 1823 into the +possession of the Borghese family, and is now in the Borghese Gallery, +Rome. Size of whole picture, 5 ft. 4 in. by 6 ft. 5 in. + + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE. + +_Compiled from Ricci's_ Correggio, _to which the references to pages +apply_. + +1494. Antonio Allegri born at Correggio. + +1511-1513. Probably in Mantua (p. 69). + +1515. Madonna of St. Francis (p. 94). + +1518. In Parma executing the frescoes of San Paolo, April-December (p. +152). + +1520. Invitation to Parma from the Benedictines (p. 153). Marriage +with Girolama Merlini (p. 185). + +1520-1525. At work on frescoes of S. Giovanni Evangelista, Parma, with +interruptions as noted below (pp. 189-195). + +July, 1521-Spring, 1522. In Correggio (pp. 194, 195), and probable +execution of the Ecce Homo, Christ in Garden, and Noli me tangere (p. +226). + +1521. Birth of son Pomponio, September 3 (p. 185). + +1522. Visit to Reggio and commission for the Nativity (La Notte) +October (pp. 195, 294). Commission for frescoes of Parma Cathedral, +November (p. 250). + +1523. Visit in Correggio (p. 195). Order for Madonna of St. Jerome (p. +278). + +1524. Last payment for frescoes of S. Giovanni (p. 190). Birth of +daughter Francesca Letizia, December 6 (p. 185). + +1524-1530. Work on frescoes of the Parma Cathedral, interrupted by +visits to Correggio, as noted below (p. 273). + +1525. Visits to Correggio in February and August (p. 274). Madonna of +St. Sebastian painted for Confraternity of St. Sebastian at Modena (p. +275). + +1526. Birth of daughter Caterina Lucrezia (p. 185). + +1527. Visits in Correggio (p. 274). + +Circa 1528. Birth of daughter Anna Geria (p. 185). + +1528. Visit in Correggio in summer (p. 274). + +1529. Death of wife (p. 185). + +1530-1534. In Correggio (p. 307). Mythological pictures for Federigo +Gonzaga (p. 311). + +1534. Death of Allegri, March 5 (p. 326). + + +V. LIST OF CONTEMPORARY ITALIAN PAINTERS. + +Vincenzo Catena, Venetian, 1470-1532. +Michelangelo, Florentine, 1475-1564. +Lorenzo Lotto, Venetian, circa 1476-1555. +Bazzi (Il Sodoma), Sienese, 1477-1549. +Giorgione, Venetian, 1477-1510. +Titian, Venetian, 1477-1576. +Palma Vecchio, Venetian, 1480-1528. +Lotto, Venetian, 1480-1558. +Raphael, Umbrian, 1483-1520. +Pordenone, Venetian, 1484-1539. +Bagnacavallo, Bolognese, 1484-1542. +Gaudenzio Ferrari, Milanese, 1484-1549. +Sebastian del Piombo, Venetian, 1485-1547. +Andrea del Sarto, Florentine, 1486-1531. +Bonifazio Veneziano, Venetian, circa 1490-1540. +Cima da Conegliano, Venetian, 1493-1517. +Pontormo, Florentine, 1493-1558. +Moretto, Brescian, 1500-1547. +Bronzino, Florentine, 1502-1572. +Basaiti, Venetian, first record, 1503-last record, 1520. + + + + +I + +THE HOLY NIGHT (LA NOTTE) (Detail) + + +In the northern part of Italy is the little town of Correggio, which +gave its name to the painter whose works we are to study. His real +name was Antonio Allegri, but in the sixteenth century a man would +often be called by a nickname referring to some peculiarity, or to his +birthplace. When Allegri went to Parma he was known as Antonio da +Correggio, that is, Antonio from Correggio, and the name was then +shortened to Correggio. + +A large part of Correggio's work was mural decoration, painted on the +surface of the plastered wall. Besides such frescoes he painted many +separate pictures, mostly of sacred subjects to be hung over the +altars of churches. The choice of subjects was much more limited in +his day than now, and, with the exception of a few mythological +paintings, all Correggio's themes were religious. The subject most +often called for was that of the Madonna and Child. Madonna is the +word, meaning literally My Lady, used by the Italians when speaking of +Mary, the mother of Jesus. The Madonna and Child is then a picture of +the mother Mary holding the Christ-child. + +Our illustration is from such a picture called "La Notte," the Italian +for The Night. The night meant by the title is that on which Jesus was +born in Bethlehem of Juda. It was at a time known in history as the +Augustan Age, when Rome was the great world-power. Juda was only an +obscure province of the vast Roman Empire, but here was the origin of +the influence which was to shape later history. The coming of Jesus +brought a new force into the world. + +The story of his infancy has been made familiar by the four +Evangelists. He was born in surroundings which, in Roman eyes, were +fit only for slaves. Mary and Joseph had come up from their own home +to Bethlehem to pay the taxes exacted at Rome. The town was full of +people on the same errand, and "there was no room for them in the +inn." So it came about that the new-born babe was wrapped in swaddling +clothes and laid in a manger used for feeding cattle. + +While he lay in this strange cradle his birth was made known by a +vision of angels to some shepherds on the neighboring hillsides. At +once they betook themselves joyfully to Bethlehem, the first to do +honor to the new-born king. These homely visitors are gathered about +the manger in Correggio's picture. The dark night is without, but a +dazzling white light shines from the Holy Child. + +[Illustration: THE HOLY NIGHT (DETAIL) +_Dresden Gallery_] + +Our illustration shows only the centre of the picture, where the +mother leans over her babe. The little form lies on a bundle of hay, +completely encircled by her arms. The bend of her elbow makes a +soft pillow for his head; her hands hold him fast in the snug nest. +With brooding tenderness she regards the sleeping child. + +A white cloth is wrapped loosely about the baby's body--the swaddling +band, which, when tightly drawn, is to hold the figure straight. The +fingers of one hand peep out from the folds, and one little foot is +free. For the rest we see only the downy top of the baby's head and +one plump shoulder. The little figure glows lite an incandescent body, +and the mother's face is lighted as if she were bending over a fire. +It is a girlish face, for we are told that Mary was a very young +mother. The cares of life have not yet touched the smooth brow. In her +happiness she smiles fondly upon her new treasure. + +We have no authentic description of Mary, the mother of Jesus, but it +is pleasant to try to picture her in imagination. As her character was +a model of womanliness, it is natural to believe her face +correspondingly beautiful. The old masters spent their lives in +seeking an ideal worthy of the subject, and each one conceived her +according to his own standards of beauty. Correggio's chief care was +for the hair and hands, which he painted, as we see here, with +exquisite skill. He was usually less interested in the other features, +and the Madonna of our picture is exceptionally lovely among his works +of this kind. + +The picture of La Notte illustrates very strikingly an artistic +quality for which Correggio is famous. This is _chiaroscuro_, or the +art of light and shadow,--the art by which the objects and figures of +a picture are made to seem enveloped in light and air, as in the +actual world. The contrast between the bright light in the centre and +the surrounding darkness gives vivid reality to the figures. There is +also a symbolic meaning in the lighting of the picture. Christ is "the +light of the world;" hence his form is the source of illumination. + +Our picture was originally called by the simple title of The Nativity. +Then the Italians, struck by the power with which the effect of +midnight was produced, called it "La Notte," The Night. When it came +to a German gallery the Germans called it "Die Heilige Nacht," The +Holy Night. An old German Christmas carol interprets it so perfectly +that it seems as if the author must have known the picture. These are +the verses:-- + + "Silent night! Holy Night! + All is calm, all is bright + Round you, virgin mother and child; + Holy infant, so tender and mild, + Sleep in heavenly peace, + Sleep in heavenly peace. + + "Silent Night! Holy Night! + Shepherds quake at the sight. + Glories stream from Heaven afar, + Heavenly hosts sing alleluia. + Christ the Saviour is born! + Christ the Saviour is born! + + "Silent Night! Holy Night! + Son of God, love's pure light + Radiant beams from Thy holy face + With the dawn of redeeming grace, + Jesus, Lord, at thy birth, + Jesus, Lord, at thy birth." + + + + +II + +ST. CATHERINE READING + + +The story of St. Catherine is very quaintly told in the old legend.[4] +She was the daughter of "a noble and prudent king," named Costus, "who +reigned in Cyprus at the beginning of the third century," and "had to +his wife a queen like to himself in virtuous governance." Though good +people according to their light, they were pagans and worshippers of +idols. + +[Footnote 4: The life of St. Catherine is related in the _Golden +Legend._ See Caxton's translation in the _Temple Classics_, volume +vii., page 1. Mrs. Jameson also gives an outline of the story in +_Sacred and Legendary Art_, p. 459.] + +Even in her babyhood the child Catherine was "so fair of visage" that +all the people rejoiced at her beauty. At seven years of age she was +sent to school, where "she drank plenteously of the well of wisdom." +Her father was so delighted with her precocity that he had built a +tower containing divers chambers where she might pursue her studies. +Seven masters were engaged to teach her, the best and "wisest in +conning" that could be found. So rapid was their pupil's progress that +she soon outstripped them in knowledge, and from being her masters +they became her disciples. + +When the princess was fourteen, her father died, leaving her heir to +his kingdom. A parliament was convened, and the young queen was +crowned with great solemnity. Then arose a committee of lords and +commons, petitioning her to allow them to seek some noble knight or +prince to marry her and defend the kingdom. Now Catherine had secretly +resolved not to marry, but she answered with a wisdom not learned +altogether from books. She agreed to marry if they would bring her a +bridegroom possessing certain qualifications which she knew were +impossible to fulfil. This silenced the counsellors, and she continued +to reign alone. + +In the course of time Queen Catherine became a Christian and devoted +herself to works of religion and charity. Under her teaching many of +her people were converted to the faith. It was a happy kingdom until +the Emperor Maxentius chanced to visit the royal city. He was a tyrant +who persecuted Christians. Upon his arrival he ordered public +sacrifices to idols, and all who would not join in the heathen +ceremony were slain. Then Catherine went boldly to meet the emperor +and set forth to him the errors of paganism. Though confounded by her +eloquence he was not to be convinced by the words of a mere woman. +Accordingly he summoned from divers provinces fifty masters "which +surmounted all mortal men in worldly wisdom." They were to hold a +discussion with the queen and put her to confusion. For all their +arguments, however, Catherine had an answer. So complete was her +victory that the entire company declared themselves Christians. The +angry emperor caused them all to be burned and cast Catherine into +prison. + +[Illustration: ST. CATHERINE READING +_Hampton Court Gallery, London_] + +Even here she continued her good works, converting the empress and a +prince who came to visit her. A new torment was then devised for her. +Iron wheels were made, bound with sharp razors, and she was placed +between these while they were turned in opposite directions. "And anon +as this blessed virgin was set in this torment, the angel of the Lord +brake the wheels by so great force that it slew four thousand +paynims." Maxentius then commanded that she should be beheaded, and +St. Catherine went cheerfully to her death. + +Other virgin martyrs may have been as good and as beautiful as St. +Catherine, but none were so wise. We know her in our picture by the +book she holds. Eager to acquire all the treasures of knowledge, she +fixes her eyes on the page, absorbed in her occupation. Already she +has read more than half the thick volume, smiling with quiet enjoyment +as she reads. There is little in the face to suggest the scholar or +the bookworm. Were this a modern picture, we should fancy it a young +lady reading her favorite poet. As it is, however, we must believe +that the book is some work by Plato or another of the ancient writers +whom St. Catherine could quote so readily. We need not wonder that she +does not knit her brow over any difficult passages. What might be hard +for another to grasp is perfectly clear to her understanding. + +The beautiful hair coiled over her head is the only coronet the +princess wears. There is no sign of her royalty, and we may infer that +the picture represents her in those early days of girlhood before the +cares of government were laid on the young shoulders. As we study the +position of the figure we see that the left arm rests on the rim of a +wheel, making a support for the hand holding the book. The wheel is +the emblem most frequently associated with St. Catherine, as the +reminder of the tortures inflicted by Maxentius. The palm branch +caught in the fingers of the left hand is the symbol used alike for +all the martyrs. The reference is to that passage in the book of +Revelation which describes the saints standing before the throne "with +palms in their hands."[5] + +[Footnote 5: Revelation vii. 9.] + +It is pleasant to believe that Correggio took unusual pains with this +picture of St. Catherine. The story of the lovely young princess seems +to have appealed to his imagination, and he has conceived an ideal +figure for her character. The exquisite oval of the face, the delicate +features, and the beautiful hair make this one of the most attractive +faces in his works. + +The light falls over the right shoulder, casting one side of the face +in shadow. The modulations of light on the chin and neck, and the +gradation in the shadow cast by the book on the hand, show Correggio's +mastery of chiaroscuro. + + + + +III + +THE MARRIAGE OF ST. CATHERINE + + +At the time of her coronation, St. Catherine knew nothing of the +Christian faith, but she had set for herself an ideal of life she was +determined to carry out. It was her firm resolve not to marry. Her +counsellors argued that, as she was endowed with certain qualities +above all creatures, she ought to marry and transmit these gifts to +posterity. The attributes they enumerated were, first, that she came +of the most noble blood in the world; second, that she was the richest +living heiress; third, that she was the wisest, and, fourth, the most +beautiful of all human beings. + +The young queen replied that she would marry only one who possessed +corresponding qualities. "He must be," she said, "so noble that all +men shall do him worship," so rich that "he pass all others in +riches," so full of beauty "that angels have joy to behold him;" and +finally, he must be absolutely pure in character, "so meek that he can +gladly forgive all offences." "If ye can find such an one," she +declared, "I will be his wife with all mine heart, if he will +vouchsafe to have me." + +Of course all agreed that there never was and never would be a man +such as she described, and the matter was at an end. To Catherine, +however, there came a strange conviction that her ideal was not an +impossible one. All her mind and heart were filled with the image of +the perfect husband she had conceived. She continually mused how she +might find him. + +While she thought on these things, an old hermit came to her one day +saying that he had had a vision, and had been sent with the message +that her chosen bridegroom awaited her. Catherine at once arose and +followed the hermit into the desert. Here it was revealed to her that +the perfect man she had dreamed of was Jesus, the Christ, and to this +heavenly bridegroom she was united in mystic marriage. Returning to +her palace she wore a marriage ring, as the perpetual token of this +spiritual union. + +The story explains the subject of our picture. The Christ-child, +seated on his mother's knee, is about to place a ring on St. +Catherine's finger, while St. Sebastian looks on as a wedding guest. +The infant bridegroom performs his part with delight. He holds the +precious circlet between the thumb and forefinger of his right hand, +and with his left singles out St. Catherine's ring finger. The bride's +hand rests on the mother's open palm, held beneath as a support. + +[Illustration: THE MARRIAGE OF ST. CATHERINE +_The Louvre, Paris_] + +All are watching the child's motions intently; the mother with quiet +pleasure, St. Sebastian with boyish curiosity, and St. Catherine +herself with sweet seriousness. Any comparison of the scene with a +human marriage is set aside by the fact that the bridegroom is an +infant. The ceremony is of purely spiritual significance, a true +sacrament. St. Catherine's expression and manner are full of humility, +as in a religious service. + +The Christ-child is a robust little fellow whose chief beauty is his +curls. He has the large head which usually shows an active +temperament, and we fancy that he is somewhat masterful in his ways. +We shall see the same boy again in the picture called The Madonna of +St. Jerome. + +The mother, too, has a face which soon becomes familiar to the student +of Correggio's works. The eyes are full, the nose is rather prominent, +the mouth large and smiling, and the chin small. Even St. Catherine is +of the same type, except that her face is cast in a smaller and more +delicate mould. Her hair is arranged precisely like that of the +Madonna, the braids bound about the head, preserving the pretty round +contour. Both women wear dresses cut with round low necks, showing +their full throats. St. Catherine's left hand rests upon a wheel with +spiked rim, which, as we have seen, is her usual emblem. Another +emblem is the sword, whose hilt projects from behind the wheel. This +was the instrument of her execution. + +Special prominence is given in the picture to three sets of hands. The +skill with which they are painted is noted by critics as one of the +many artistic merits of the work. One of Browning's poems[6] describes +an artist's meditations while trying to draw a hand. His failure +teaches him to realize that he must study the + + "Flesh and bone and nerve that make + The poorest coarsest human hand + An object worthy to be scanned + A whole life long for their sole sake." + +Such must have been Correggio's study to enable him to produce the +beautiful hands we see here. + +[Footnote 6: _Beside the Drawing Board._] + +St. Sebastian is a figure not to be overlooked. We may find his like +among the genii of the Parma Cathedral, which we are to study. He is a +joyous being to whom it is good merely to be alive. The elfin locks +falling about his face make him look like some creature of the woods. +We are reminded most of the faun of the Greek mythology. The arrows in +his hand suggest some sylvan sport, but in reality they are the emblem +of his martyrdom. According to tradition the young saint was bound by +his enemies to a tree, and shot with arrows. + +Behind the group stretches a bit of open country, and if we look +closely we can discern here two groups of small figures. One +represents the martyrdom of St. Sebastian, and the other, the +execution of St. Catherine. We may suppose that such gruesome subjects +were not the choice of the painter. It is probable that they were +dictated by his patrons, and in obeying orders he made the figures as +inconspicuous as possible. + + + + +IV + +CEILING DECORATION IN THE SALA DEL PERGOLATO + +(HALL OF THE VINE TRELLIS) + +(S. Paolo, Parma) + + +In the time of Correggio the convent of S. Paolo (St. Paul) in Parma +was in charge of the abbess Giovanna da Piacenza, who had succeeded an +aunt in this office in 1507. She was a woman of liberal opinions, who +did not let the duties of her position entirely absorb her. She still +retained some social connections and was a patroness of art and +culture. The daughter of a nobleman, she was a person of consequence, +whose private apartments were such as a princess might have. Already a +well known painter of the day had decorated one of her rooms when she +heard of the rising artist Correggio. Probably advised by her relative +the Cavaliere Scipione Montino, she commissioned the young painter to +fresco a second room. + +The decorative scheme he designed is very beautiful and elaborate. The +square ceiling is completely covered with a simulated trellis, +embowered in foliage and flowers, and pierced by oval windows through +which children are seen at play. A circle in the centre contains the +family arms of the abbess, a shield on which three crescent moons are +set diagonally. From this centre, as from the hub of a wheel, a +series of gilded ribs radiate towards the sides, cutting the whole +space into triangular sections whose surfaces are slightly hollowed. +The oval windows of the trellis open in these sections, one in each +triangle, and sixteen in all. Above every window hangs a bunch of +fruit, seemingly suspended from 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 sixteen lunettes +or semicircles running around the square, one in each section. The +frieze around the side walls simulates a narrow scarf caught up in +festoons between ornamented capitals formed of rams' heads. The +remaining decoration of the room is on the cap of the chimney, and +represents the goddess Diana setting forth for the chase. + +This picture furnishes the subject of the children's games in the +lattice bower. The little sprites are attendants of the goddess, +playing in a mimic hunt. Two or three may be seen through every +window, busy and happy in their innocent sport. One is the delighted +possessor of a quiver of arrows, from which he draws a shaft. Others +play with the hounds, pulling them hither and thither at their will. A +group of five find the hunting-horn an amusing plaything, and +good-humoredly strive together over the treasure. + +[Illustration: CEILING DECORATION IN THE SALA DEL PERGOLATO +_Convent of S. Paolo, Parma_] + +Our illustration shows a quarter section of the ceiling, from which we +can in imagination reconstruct the whole diagram.[7] Let us see +what the children are doing in this corner of the lattice. At the +window directly in front of us a little fellow proudly exhibits a +stag's head as a trophy of the chase. Just behind his shoulder a merry +companion, peeps out, and lower down, on the other side, appears the +head of an animal like a doe. In the next window is a boy with a +wreath of flowers with which he and a companion apparently mean to +crown the head of the stag. The third boy of the group has for the +moment lost interest in the play, his attention being attracted by +something going on outside. Now comes a boy passing by the next +window, who hastens to join the party we have just seen. His +playfellow wants to go the other way, and tries to detain him. "Come," +he says, seizing him by the arm, "there's no fun over there. See what +I have found." + +[Footnote 7: A quarter section, mathematically exact, is of course, +square in shape. In our illustration the lower part of two lunettes is +cut off.] + +We are somewhat at a loss to know just what mischief the baby in the +next window has been plotting. He grasps with both hands a tall staff, +which may be a hunting-spear, or perhaps a pole with which he hopes to +reach the fruit. In some way he has managed to get both feet through +the window, and is now in a precarious position, half in and half out. +His companion tries to draw him in; but whether he is alarmed at the +danger, or is himself eager to get the pole, we cannot tell. + +The lunettes of the ceiling are painted in gray, framed in borders of +sea-shells. They are made to simulate niches containing sculptured +figures with some allegorical or mythological meaning. In our +illustration we see first the figure of Chastity, holding in her right +hand the dove, which is the emblem of innocence. The dress is the +long, plain tunic seen in Greek sculpture, and the thin stuff of which +it is made flows in graceful lines about the form. We are reminded of +Milton's lines in "Comus:"-- + + "So dear to Heav'n is saintly Chastity, + That when a soul is found sincerely so, + A thousand liveried angels lacky her, + Driving far off each thing of sin and guilt, + And in clear dream and solemn vision, + Tell her of things that no gross ear can hear." + +The next figure is similar in character and meaning. It is Virginity, +holding in her right hand the lily, which is the symbol of purity. The +other two figures, of which we see only the upper portion, are +Fortune, with a cornucopia, and the helmeted Athena, with spear and +torch. + +At the death of the abbess Giovanna in 1574, the convent of S. Paolo +entered upon a period of severe ecclesiastical discipline. For more +than two centuries it was impossible for outsiders to gain admittance, +and the "Sala del Pergolato" was a sealed treasure. Finally, in 1794, +the Academy of Parma gained permission to examine Correggio's +paintings. After the suppression of the convent the room was thrown +open to the public, and the building is now used for a school. + + + + +V + +DIANA + + +In classic mythology, Diana, the Greek Artemis, was the goddess of the +moon, twin sister of the sun-god Apollo. As the rays of moonlight seem +to pierce the air like arrows, Diana, like Apollo, was said to carry a +quiver of darts; the slender arc of the crescent moon was her bow. +Thence it was natural to consider her fond of hunting, and she became +the special patroness of the chase and other sylvan sports. Her +favorite haunts were groves and lakes, and she blessed the increase of +field and meadow. She was mistress of the brute creation, and showed +special favor to the bear, the boar, the dog, the goat, and the hind. +The poet Wordsworth has described how the ancient huntsman regarded +the goddess:-- + + "The nightly hunter lifting up his eyes + Towards the crescent moon, with grateful heart + Called on the lovely wanderer who bestowed + That timely light to share his joyous sport; + And hence a beaming goddess with her nymphs + Across the lawn and through the darksome grove + (Not unaccompanied with tuneful notes + By echo multiplied from rock or cave) + Swept in the storm of chase, as moon and stars + Glance rapidly along the clouded heaven + When winds are blowing."[8] + +[Footnote 8: In _The Excursion._] + +There were other pleasant beliefs about Diana such as might be +connected with the thought of the moon. As the moonlight cheers the +traveller on his way and enters the chamber of the sick and lonely, so +Diana was said to watch with the sick and help the unfortunate. The +pale, white light of the moon is a natural symbol of purity, hence +Diana was a maiden goddess above all allurements of love. Her worship +was conducted with splendid rites in various ancient cities. The +temple built in her honor at Ephesus was famous as one of the seven +wonders of the world. + +The ancients naturally liked to fancy the goddess very beautiful. The +Greek poet Anacreon called her "the goddess of the sun bright hair." +The English Keats, who delighted in the old Greek myths, has also +described the charms of "the haunter chaste of river sides, and woods +and heathy waste."[9] She had "pearl round ears, white neck, orbed +brow, blush tinted cheeks," and "a paradise of lips and eyes." + +[Footnote 9: In _Endymion_. See also Lowell's _Endymion_ for a +description of Diana.] + +In our picture the moon goddess is mounting her car for the nightly +course across the sky.[10] Though she seems to be but just springing +to her place, with bending knee, she is already speeding on her way. + +[Footnote 10: As Apollo drives the sun chariot across the sky by day. +Compare Guido Reni's Aurora.] + + "How tremulous-dazzlingly the wheels sweep + Around their axle." + +Her quiver, well filled with the bow and arrows, hangs at her back, +held by the strap bound over her breast.[11] The crescent moon gleams +above her brow. The vehicle is the small two-wheeled chariot used +among the Romans, scarcely larger than a chair. Only the hind legs of +the steeds may be seen, but we fancy them to be two white does. + +[Footnote 11: It seems odd that with this full quiver the subject +should be called by some "Diana's Return from the Chase."] + +[Illustration: DIANA +_Convent of S. Paolo, Parma_] + +The huntress turns her face earthward, lifting a fluttering veil high +in her left hand. It is as if the face of the moon had been hidden +behind a cloud which the goddess suddenly draws aside and shows "her +fulgent head uncovered, dazzling the beholder's sight." It is with a +bright, cheerful countenance that she beams upon her worshippers. A +sense of courage and exhilaration is expressed in her spirited +bearing. With her right hand she points forward, as if calling us to +join in the sport. In the swiftness of her motion her unbound hair and +filmy garments blow out behind her. + +She is a country-bred maiden, with plump neck and round arms, and her +chief charm is her buoyant vitality. Her open face, with eyes set +rather far apart, is the index of her nature. Her free life in the +woods has developed a well poised womanhood. Fear is unknown to her; +pain and disease come not near her. Rejoicing in immortal youth and +strength, she speeds nightly through the sky, the messenger of light +and comfort. + +As we have seen in the preceding chapter, the picture of Diana is +painted in fresco on the chimney cap, or hood, over the great +fireplace in the Hall of the Vine Trellis. We may well believe that +the decoration went far towards furnishing the stately apartment. +Underneath runs the Latin inscription, "_Ignem gladio ne fodias_," +stir not the fire with the sword. + +It will be remembered that the arms of the abbess, for whom the room +was decorated, bore the device of the crescent moon. This fact may +have suggested to Correggio, or his patrons, the subject of the moon +goddess. Diana, as a virgin divinity, was an especially appropriate +choice for the apartment of a nun. + +The legends of Greek mythology were at that time very popular among +people of culture, having been recently brought to notice in the +revival of classic learning. In Italy they furnished themes for the +painter; in England, for the poet. The English Ben Jonson, living a +half a century later than Correggio,[12] but representing in a certain +measure the same love of classic allusion, wrote a "Hymn to Diana," +which might have been inspired by this picture. The first stanza may +be quoted for its interpretation:-- + + "Queen and huntress, chaste and fair, + Now the sun is laid to sleep, + Seated in thy silver chair, + State in wonted manner keep. + Hesperus entreats thy light, + Goddess excellently bright." + +[Footnote 12: That is, from 1573 to 1637.] + + + + +VI + +ST. JOHN THE EVANGELIST + + +It seemed understood among the twelve disciples of Jesus that John was +the one of their number especially beloved by the Master. He and his +brother, James, were the sons of the fisherman Zebedee, and all three +men earned their living in their fishing-boats on the sea of Galilee. +It was while they were busy with their nets that Jesus one day called +the two brothers to be fishers of men. "And they straightway left +their nets and followed him."[13] + +[Footnote 13: St. Matthew, chapter iv., verse 20.] + +Under the teachings of Jesus, John grew in knowledge of spiritual +things. He was one of the three accompanying their Master to the Mount +of Transfiguration, where they witnessed a sacred scene withheld from +the others. His nature was affectionate and poetic, and he was a deep +thinker. Often when the meaning of Jesus' words was beyond his +hearers, John treasured the sayings in his memory. On the evening when +Jesus sat at table with his disciples for the last time, John was near +him, leaning on his Master's breast. When, on the next day, Jesus hung +upon the cross, it was John to whom he commended his mother as to a +son. "And from that hour that disciple took her unto his own home." + +In the years that followed, John pursued his Christian service with +the zeal of an ardent nature. He remained awhile in Juda and, in +company with Peter, added many converts to the faith. He then carried +the work into Asia Minor, where he founded seven churches. Not only +was he a preacher and organizer, but a voluminous writer as well. The +fourth Gospel is believed to be his work, in which he records many +words and deeds of Jesus overlooked by the other Evangelists. He was +also the writer of the three Epistles which bear his name. Finally, he +is supposed to be the author of the book of Revelation, in which he +described his visions during his exile in the isle of Patmos. +According to tradition, he lived to a great age, and died at Ephesus +in Asia Minor. + +The love with which Christians cherish the memory of St. John is seen +in the number of churches bearing his name. One such is that in Parma +which was newly built at the time when Correggio was winning his first +laurels. The most important portions of the interior decorations were +executed by our painter. + +Before considering the frescoes of the cupola, the visitor to the +church likes to pause before the lunette over the door of the left +transept. The subject is St. John, seated with his writing materials +on his lap. There is a pile of books behind him and a volume beside +him. At his feet stands the symbolic eagle pluming his wing. + +[Illustration: ST. JOHN THE EVANGELIST +_Church of S. Giovanni Evangelista, Parma_] + +The emblems of the Evangelists are drawn from Ezekiel's vision of +the "four living creatures," whose faces were those of a man, a lion, +an ox, and an eagle. Applied respectively to the writers of the four +Gospels, each emblem suggests some characteristic trait. The eagle is +especially appropriate to St. John. As the bird soars into the upper +regions of the sky and looks directly at the sun, so St. John's +inspiration raised him into the highest realms of thought, where he +seemed to gaze directly upon the divine glory. It is for this that he +is called St. John, "the divine." As the Latin inscription over the +lunette reads, "More deeply than the others he disclosed the mysteries +of God."[14] + +[Footnote 14: "Altius coeteris Dei patefecit arcana."] + +In our picture the Evangelist lifts his eyes heavenward as if +beholding a vision. His lips are parted, and he has the rapt +expression of one absorbed in meditation. His right hand still holds +the pen as he pauses for inspiration. + +In trying to do honor to the beloved disciple, the painters have +always represented him as the most beautiful of the twelve. As the +most Christ-like in character, he is made to resemble the typical +figure of Christ. So in this fresco by Correggio, he is a beautiful +youth, with the curling hair, the oval face and the regular features +we associate with the person of Jesus. Though the beardless face is so +refined, there is nothing weak or effeminate about it. The whole +figure is indeed very manly. The head is well set on a full throat and +the shoulders are broad. Rising to his feet St. John would be a tall, +athletic young man, capable of lending a strong hand at his father's +fishing-nets. The union of strength and refinement makes the picture +one of the most attractive ideals of St. John ever painted. + +The keynote of St. John's Gospel is the love of God; his ardent nature +never wearied of the theme; the wonder in his lifted face shows him +still intent upon the mystery. Were we to seek some characteristic +utterance which should appropriately interpret his thoughts, it might +well be the words of Jesus to Nicodemus, "God so loved the world that +he gave his only begotten son, that whosoever believeth in him should +not perish, but have everlasting life."[15] + +[Footnote 15: St. John, chapter iii., verse 16.] + + + + +VII + +ST. JOHN AND ST. AUGUSTINE + + +The church of S. Giovanni Evangelista (St. John the Evangelist), in +Parma, is built with a dome-shaped cupola which Correggio filled with +a fresco decoration. The subject is drawn from the life of the apostle +whose name is given to the church: it is the vision of St. John on the +isle of Patmos. Looking up into the dome, one seems to be looking +directly into the open sky, upon the figure of Christ ascending into +heaven. The apostles sit in a circle on the clouds, and beneath them +the aged St. John kneels on the mountain top, gazing upwards upon the +vision. The heavenly spaces are alive with angels, for, as Browning +writes:-- + + "Correggio loves to mass, in rifts + Of heaven, his angel faces, orb on orb." + +The little creatures are sporting among the clouds and, in the poet's +phrase, "waiting to see some wonder momently grow out." + +Where the dome rests upon the four arches which support it, are four +triangular corner-pieces called pendentives, which also belong to +Correggio's decorative plan. They are devoted respectively to the +figures of the four Evangelists, each one accompanied by one of the +four Fathers of the Church. The Christian Fathers were the men whose +writings and teachings shaped the doctrines of the faith in the early +centuries of our era. They interpreted for the people the meaning of +the Scriptures and the Gospels. + +The pendentive of our illustration contains St. John with St. +Augustine. The two sit side by side, engaged in a discussion over the +book which they hold together. St. John is young and beautiful, as the +painters always represent him, except in the subject of the vision of +Patmos. The face is perhaps less strong and the expression less +exalted than in the lunette we have studied. There is a boyish +eagerness in his manner. The symbolic eagle is beside him, peeping out +from the folds of the drapery. St. Augustine is a handsome old man +with finely cut features. To understand how well the figure fits his +character, we must know something of his life.[16] + +[Footnote 16: The life of St. Augustine, also called St. Austin, is +related in the _Golden Legend_. See Caxton's translation in the +_Temple Classics_, vol. 5, page 44. Mrs. Jameson gives a condensed +account of the life in _Sacred and Legendary Art_, p. 303.] + +He was born in Numidia near the middle of the fourth century, and +showed in his boyhood brilliant powers of mind. Without the help of +any teacher he read and mastered all the books necessary to an +education in the liberal arts. His mother, Monica, was a devout +Christian, and sought to lead her son to a godly life. For a long time +her efforts seemed in vain. Augustine would make no profession of the +Christian faith, but rather indulged in youthful dissipations. His +best quality was his love of study. He became a teacher of rhetoric, +and pursued his vocation in one city and another, always dissatisfied +with his life. At length, in his thirtieth year, he came to Milan, +where he fell under the influence of Bishop Ambrose. Then followed a +mighty struggle in his soul, and in the end he yielded himself +joyfully as a disciple of Christ. On the occasion of his baptism was +composed the hymn called the "Te Deum" which is still used in +churches. + +[Illustration: ST. JOHN AND ST. AUGUSTINE +_Church of S. Giovanni Evangelista, Parma_] + +Henceforth the life of Augustine was filled with Christian labors. +After some ten years of devout living he became the bishop of Hippo +(near Carthage) where he resided for thirty-five years, until his +death in 430. All his stores of learning were devoted to the +explanation of Christian theology. He wrote a great number of +treatises refuting what he believed to be heresies, and setting forth +what he considered the true doctrines of the faith. An old writer +pronounced him "sweet in speech, wise in letters, and a noble worker +in the labours of the church." In a book of "Confessions" he laid bare +all his faults with great humility. + +In our picture the good bishop is learning the truths of the faith +from St. John, while a child-angel behind him holds his crosier and +mitre. Allowing for the difference of ages, there is a certain +resemblance between the two men, showing that they have in common a +refined and sensitive nature, and an ardent temperament. The older +man's face shows lines of thought and character. + +St. John seems to be counting off the points of the discussion on his +fingers: it may be that he is unfolding the doctrine of the Trinity. +The bishop follows the argument slowly, imitating St. John's gesture +with hesitating hands. What seems so clear to the eager young teacher +requires much deliberation on the part of the learner. The old man +knits his brows with an intent expression, striving to understand the +mystery. The two earnest faces turned towards each other make an +interesting contrast. + +The angel figures of the pendentive are worthy of notice. Three little +creatures are frolicking on the clouds below the saints' feet, and two +are perched on the upper part of the arches. They are wingless +sprites, playful as human children, but with a grace and beauty not of +earth. Two seem to be emerging from a hiding-place in the clouds, and +gaily hail their comrade on the arch above. The lovely sprite on the +opposite arch is thinking of other things, and looks over his shoulder +across the church. The tiny fellow in charge of the mitre and crosier +peeps out with a mischievous countenance. + +Our reproduction shows a portion of the soffits, or under sides of the +arches, decorated with figures from Old Testament history, painted in +monochrome. + + + + +VIII + +ST. MATTHEW AND ST. JEROME + + +The apostle Matthew was employed as a tax-gatherer in Jerusalem when +he became a disciple of Jesus. He was sitting one day at the receipt +of customs, when Jesus passed by and said unto him, "Follow me." "And +he left all, rose up and followed him."[17] Soon after, the new +disciple made a great feast for the Master, scandalizing the scribes +and Pharisees by inviting guests of doubtful reputation. Matthew, +however, had rightly judged the spirit of Jesus, who had come "not to +call the righteous, but sinners to repentance." Throughout the +ministry of Jesus, Matthew remained a faithful disciple, but without +distinguishing himself in any way. Evidently he had a thoughtful mind +and a good memory. In his Gospel he reported very fully the Sermon on +the Mount and many of the parables. + +[Footnote 17: St. Luke, chapter v., verse 28.] + +One of the pendentives of the cupola in the church of S. Giovanni +Evangelista is devoted to St. Matthew in company with St. Jerome. The +Evangelist turns from the open Gospel before him to speak to St. +Jerome, who is occupied with his writing. A winged cherub, sitting on +a cloud in front of him, supports his book with both outstretched +arms. The cherub is St. Matthew's emblem, as the eagle is that of St. +John. It is by this charming figure that the old masters represented +the face of "a man," that is, the human face, in the "living creature" +of Ezekiel's vision.[18] The symbol is appropriately applied to the +first Evangelist because his Gospel emphasizes the humanity of Jesus. + +[Footnote 18: See also pages 34, 35.] + +The token of St. Jerome's identity is the cardinal's hat, held by an +angel on the arch beside him. The two volumes on his lap, in addition +to the scroll upon which he is engaged, show how busy has been the pen +of this learned Father. As the old chronicler relates, "he never +rested day ne night, but always read or wrote."[19] + +[Footnote 19: The life of St. Jerome is related in the _Golden +Legend_. See Caxton's translation, in the _Temple Classics_, vol. v., +page 199. Mrs. Jameson gives a condensed account of the same in +_Sacred and Legendary Art_, page 280.] + +He came of a rich family, and received at Rome the best education +afforded by his times. Like his contemporary, St. Augustine, he +devoted all his scholarship to the service of the Christian faith. +While St. Augustine's tastes were more philosophical, St. Jerome's +were perhaps more for pure learning and the study of the classics. He +made himself master of Hebrew and Greek, and his most valuable work +was his translations. He rendered into Latin, which was the literary +language of his day, the various books of the Old and New Testament, +and this version became the authorized Bible or Vulgate. + +[Illustration: ST. MATTHEW AND ST. JEROME +_Church of S. Giovanni Evangelista, Parma_] + +St. Jerome was a Dalmatian by birth, but in the course of his life +he journeyed to many countries. Soon after his baptism, he visited +Syria, to retrace the scenes of the life of Christ. He then retired to +a desert, where he passed four years in penance and fasting, living in +the companionship of wild beasts. Clothed in sackcloth, he spent his +days in torture, struggling with temptation, and haunted by visions of +demons. + +At a later period of his life he was in Rome, where he gained an +immense influence over fashionable women. Two of his converts here +were Paula and Marcella, whose names are historical. Finally he +returned to Palestine, and passed the remainder of his days in a +monastery which he had founded in Bethlehem. He was a man of vehement +nature, a violent partisan, and an untiring student. + +Something of his character may be seen in the face of the old man of +our picture, bending over his writing. He seems so absorbed in his +task that he is entirely unconscious of his surroundings. The deep-set +eyes, overhung by shaggy brows, are fixed intently on his scroll. From +his association with St. Matthew, we may fancy that he is translating +the first Gospel. The Evangelist, with his own volume before him, is +supervising the work. He turns to the translator with an encouraging +smile, and seems to dictate the words. St. Matthew's face is gentle +and amiable, though not so strong as we are wont to imagine it. He is +here represented in middle life, at about the age when called to +discipleship. + +As in the pendentive of St. John and St. Augustine, the angel figures +add an element of beauty to the picture. Each one seems attracted by +some distant object. The cherub holding St. Matthew's book looks +towards the worshippers in the church. Some one in the congregation +also seems to attract the attention of the angel with the cardinal's +hat, and he smiles shyly, as if in reply to a gesture of admiration. +His companion on the other arch turns his eyes towards the figures in +the dome, where the apostles are enthroned on clouds. The playful +little fellow on the clouds below St. Matthew's feet looks across at +the sprites of the opposite pendentive. + +All this charming by-play gives the impression of a company of living +spirits frolicking among the arches of the church. "Have Correggio's +_putti_[20] grown up yet and walked out of their frames?" the painter, +Guido Reni, used to ask, referring with quaint humor to the wonderful +lifelikeness of such child figures. So, looking at these angels, we +half expect to see them wave a hand to us over the arches, and, +turning with a sudden motion, disappear from our sight among the +clouds. + +[Footnote 20: Italian for "boys."] + + + + +IX + +THE REST ON THE RETURN FROM EGYPT + +(The Madonna della Scodella) + + +Before the child Jesus was two years old, he was taken on a journey +which at that time was long and tedious. An angel appeared to Joseph +one night in a dream, saying, "Arise, and take the young child and his +mother, and flee into Egypt, and be thou there until I bring thee +word; for Herod will seek the young child to destroy him." + +The news of Jesus' birth had been first brought to King Herod by the +wise men of the East, who came in search of the new-born king whose +star they had seen. The idea of a strange ruler to usurp the throne +alarmed Herod, and he determined to be rid of any possible rival. +Accordingly orders were given to slay all children in and near +Bethlehem "from two years old and under." + +While this terrible slaughter was going on, the Holy Family were +making their way to the strange land of refuge. Here they lived, +awaiting heavenly guidance for their return. "But when Herod was dead, +behold an angel of the Lord appeareth in a dream to Joseph in Egypt, +saying, Arise, and take the young child and his mother, and go into +the land of Israel; for they are dead which sought the young child's +life. And he arose, and took the young child and his mother, and came +into the land of Israel."[21] + +[Footnote 21: The quotations are from St. Matthew, chapter ii.] + +This is all the Evangelist tells us of what was doubtless an exciting, +perhaps even a perilous adventure. We may suppose both journeys to +have been made by donkeys, the common beasts of burden in Eastern +countries. The young mother and child must certainly have had to ride. +As for Joseph, he was a sturdy man, and may well have walked; in those +days travelling was a matter of time. Unused to luxuries, these simple +folk trusted in Providence to supply their few needs by the way. + +Our picture illustrates an imaginary incident on the return journey +from Egypt to Israel. It is the hour of the noonday rest, and the +little company have come to a halt in the woods. An old legend relates +how at such times the trees would bend to offer them fruit, and +springs would gush forth out of the dry ground for their refreshment. +Mary has seated herself on a bank by the stream, while Joseph plucks +the fruit from the date palm near by. + +The boy Jesus has been standing between the two, watching Joseph, from +whose outstretched hand he now takes the fruit. At the same time he is +thirsty, and leaning back towards his mother, he turns and throws an +arm over her shoulder, asking for a drink of water. She has a round +basin (or _scodella_) which the family use as a drinking-cup, and the +child points to it with a coaxing smile, resting his hand on her +wrist. + +[Illustration: THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) +_Parma Gallery_] + +Mary turns with fond pride towards the dear little face so near her +own. Her face is the same which we have already seen bending in a +mother's first ecstasy over her babe. Here it has a maturer and more +matronly look, but with no less sweetness. Joseph, from his higher +level, looks down kindly upon the two. His generous nature seems to +take delight in anything that gives them pleasure. He is large and +heavily built, a stalwart protector should perils beset them. In spite +of the thick draperies so clumsily wound about him, he is a dignified +figure. He holds here a place of prominence seldom given him by other +painters. + +The child upon whom so much love is lavished is a tall, lithe boy with +a well shaped head. His hair is parted, and falls in loose curls on +each side of a forehead which marks him a child of genius. The face is +delicate and sensitive, with a shy expression in the eyes. + +The family are not alone, for, all unseen by them, a company of +ministering angels wait upon them. A tall one in the rear takes care +of the donkey. Another little creature peeps from the thicket beside +Mary. Four more circle overhead among the branches of the trees, borne +upon little clouds which they have brought with them from the upper +regions. Their wind-blown hair and fluttering garments show how swift +is their motion. One of them tugs mightily at the palm, throwing +himself backward in the effort to bend it towards Joseph. Two others +sport together with interlocked arms, and higher still, a pair of +eyes gleam through the leaves. The whole jocund company seem to fill +the place with mirth. They fulfil the promise of the ancient psalmist, +"He shall give his angels charge over thee, to keep thee in all thy +ways." + +Certain characteristics of Correggio's art are well illustrated in the +picture. His delight in the foot is here almost equal to that he shows +for the hand in "The Marriage of St. Catherine." The three wayfarers +travel with bare feet, and the ministering angels flaunt their feet +gaily in the air. Drawn in many positions, it is interesting to see +how decorative this feature of the picture is. + +The figures are cleverly grouped, that they may completely fill the +tall, narrow panel. The composition is built on a diagonal plan. From +the left hand of Joseph, grasping the palm branch, to the right hand +of Mary, with the basin of water, runs the strong main line which +gives character to the drawing. The child links the two larger figures +together, by stretching out a hand to each. The group of cloud-borne +angels above also follows a diagonal direction parallel to the larger +group. We shall presently see that the painter used the same method of +composition in another picture. + +The opening beyond the copse, where the donkey is tied, makes the spot +seem less gloomy and isolated. It is an important principle of art to +represent no enclosed place without a glimpse of light in the +background. + + + + +X + +ECCE HOMO + + +The old Hebrew prophet who wrote of the coming Messiah predicted that +he should be "despised and rejected of men, a man of sorrows, and +acquainted with grief." How fully the prophecy was realized, we may +read in the narrative of the trial and crucifixion of Jesus. + +The enemies of Jesus had to deal with their prisoner according to the +formality of the Roman law. They brought him to the Roman governor, +Pontius Pilate, accusing him of "perverting the nation, and forbidding +to give tribute to Csar, saying that he himself is Christ, a +king."[22] The governor duly examined Jesus, but, finding no case +against him, proposed to scourge him and let him go. + +[Footnote 22: St. Luke, chapter xxiii., verse 2.] + +"Then Pilate therefore took Jesus and scourged him. And the soldiers +platted a crown of thorns and put it on his head, and they put on him +a purple robe, and said, Hail, King of the Jews! and they smote him +with their hands. Pilate therefore went forth again, and saith unto +them, Behold, I bring him forth to you, that ye may know that I find +no fault in him. + +"Then came Jesus forth, wearing the crown of thorns, and the purple +robe. And Pilate saith unto them, Behold the man! When the chief +priests therefore and officers saw him, they cried out, saying Crucify +him, Crucify him."[23] Pilate again sought to release Jesus, but the +people continued to clamor, "Away with him," "Crucify him." "Then +delivered he him therefore unto them to be crucified."[24] + +[Footnote 23: St. John, chapter xix., verses 1-6.] + +[Footnote 24: _Ib._, verse 16.] + +The Latin form of Pilate's words, "Behold the man," has given the +title "Ecce Homo" to our picture. It is the moment when Jesus comes +forth from the rude mockery of the soldiers, clad in a royal robe, and +wearing the crown of thorns. The governor has bidden one of the +soldiers lead the prisoner out on a balcony of the palace. An eager +throng of people are waiting outside, but they are not all enemies. +Among them are a few faithful women, and they are allowed to press +close to the balcony. At the sight of her son, treated as a criminal +with bound hands, the mother, Mary, falls swooning over the +balustrade, supported by a younger woman. + +Pilate standing in the doorway behind appeals to the crowd: "I find no +fault in him. Behold the man." He has been deeply impressed by his +interview with Jesus, and is willing to do something in his behalf. +His face is good-natured, we see, but with no strength of character in +it. He is a handsome man with curling beard carefully trimmed, +apparently not a hard man to deal with, but easy-going and selfish. + +[Illustration: ECCE HOMO +_National Gallery, London_] + +Jesus stands with drooping head and an expression of suffering +resignation. In the menacing faces before him he sees the hatred which +will be satisfied with nothing less than his death. Already he hears +the cruel cry, "Crucify him, crucify him." His badge of kingship is +the crown of suffering. Were his kingdom of this world, his servants +would deliver him from his enemies. As the ruler of a heavenly +kingdom, he was born "to bear witness unto the truth." + +The rich mantle, which the soldiers have mockingly thrown over his +shoulders, falls away and shows the body as it had been bared for the +scourging. It is a beautiful form, perfectly developed, and the arms +and hands are as delicately modelled as a woman's. The face is oval, +with regular features of classic mould, a short parted beard, and long +hair falling in disordered curls about it. This is the typical face of +Christ, as it has been handed down from generation to generation since +early in the Christian era. The rude pictures in the catacombs are on +the same model. So faithfully has the type been followed through the +centuries, some believe that the original must have been an authentic +likeness.[25] + +[Footnote 25: See _Rex Regum_, by Sir Wyke Bayliss.] + +The mother Mary is still young and beautiful. As the great +Michelangelo said, "Purity enjoys eternal youth."[26] A heavy veil or +mantle is draped over her head, framing the pure profile of her face. +This form of drapery is common among the old masters in painting Mary +as _Mater Dolorosa_, or the Sorrowing Mother. + +[Footnote 26: See the volume on Michelangelo in the _Riverside Art +Series_, page 35.] + +Artistically considered, this figure of the fainting mother is the +finest thing in the picture. Her companion, probably Mary Magdalene, +is also a lovely creature, though we see only a part of her face. + +The subject is in tragic contrast to the illustrations we have just +been studying. It seems strange to connect this Man of Sorrows with +the happy boy we saw by the woodland spring, or this grief-stricken +woman with that proud young mother. Correggio himself, we know, shrank +from such sad themes. + +Like the picture of The Marriage of St. Catherine, our illustration +shows how skilfully Correggio painted hands. The drooping fingers of +the Saviour taper delicately, with long almond-shaped nails. Pilate's +hand has slender, flexible fingers like those of some dainty woman, +and might be mated with that of Mary Magdalene. It is apparent that +the study of hands and feet interested our painter more than that of +faces. We shall lose much in his pictures if we do not give special +attention to these features. In the case before us, the face of Christ +must be less attractive, on account of the sorrowful expression. To +make up, as it were, for this, the hands are brought into prominent +notice, and are very beautiful. + + + + +XI + +APOSTLES AND GENII + + +The glory of Parma is the Cathedral, which represents the labors of +many centuries. The building itself was begun in 1058, and completed +in the thirteenth century. The interior was beautified by a succession +of artists, one of whom was our painter Correggio. His work here was +the decoration of the cupola, and he began it immediately upon +finishing the frescoes in the church of S. Giovanni Evangelista. + +The Cathedral dome is octagonal in shape. In the roof, or topmost +space, the Virgin Mary seems borne on circling throngs of saints and +angels to meet the Saviour in the upper air. Below the dome runs a +cornice, or frieze, in eight sections, filled with figures of apostles +gazing upon the vision. Still lower are four decorated pendentives, +similar to those in the church of S. Giovanni Evangelista. These +contain respectively the four patron saints of Parma. + +To the spectator looking up from below, the effect is of "a moving +vision, rapturous and ecstatic." A multitude of radiant figures sweep +and whirl through the heavenly spaces. "They are upon every side, +bending, tossing, floating, and diving through the clouds, hovering +above the abysmal void that is between the dome and the earth below +it."[27] Wonderful indeed is the triumph of the painter's art in this +place. "Reverse the cupola and fill it with gold, and even that will +not represent its worth," said Titian. + +[Footnote 27: E. H. Blashfield in _Italian Cities._] + +Our illustration shows a portion of the octagonal cornice. The design +is a simulated balcony ornamented with tall candelabra. In front stand +the apostles grouped in twos at the corners. On the top of the +balustrade, in the spaces between the candelabra, sport a band of +genii, or heavenly spirits. + +The four apostles are men of giant frames with broad shoulders and +stalwart limbs. They are of middle age, heavily bearded, and all look +much alike. It would be impossible to call one Peter, and another +Paul, or to identify any particular persons. Evidently it was not the +intention of the artist to distinguish individuals. All the figures +are turned with lifted faces towards the vision in the dome. Each +expresses, by a gesture, the wonder, joy, rapture, or admiration +aroused by the spectacle. Their attitudes are somewhat extravagant and +self-conscious. The drapery, too, is rather fantastic, flung about +their figures, leaving arms and legs bare. Were the picture taken out +of its surroundings it would scarcely suggest a Christian subject. +These colossal beings are like Titans moving through the figures of a +sacred dance, and murmuring the mystic incantations of some heathen +rite. + +[Illustration: APOSTLES AND GENII +_Cathedral, Parma_] + +But we must not press our interpretation too far. The panel should be +studied for its decorative quality as a part of a larger scheme. +Viewed from below, this procession of figures must be exceedingly +effective. The emphasis of lines is diagonal, flowing in the direction +of the focal point of the whole decoration. + +The genii of the balustrade are beings of Correggio's own creation. +His imagination called forth a world of spirits without a counterpart +in the work of any other painter. Lacking the wings usually given in +art to angels, they also lack the proper air of sanctity for heavenly +habitants. Yet they are far too ethereal for mortals. Neither angel +nor human, they are rather sprites of elf-land. With their tossing +hair and agile motions they remind us of woodland creatures, and they +look shyly out of their eyes like the furtive folk of the forest. + +They are sportive, but not mischievous, in the human sense. They +frolic in the pure delight of motion. By mortal standards of age they +are between childhood and youth, when limbs are long and bodies +supple. Their only draperies are narrow scarfs which they twist about +them in every conceivable way. + +Of the seven figures seen in our illustration, two only have any +ostensible purpose to serve. One seems to be lighting a candelabrum +with a flambeau; another carries a bowl which may be used for incense. +The others are idlers. If they have any duties as acolytes, these are +for the moment forgotten. Several are attracted by the ceremonies in +the cathedral and look down from their high perch upon the worshipping +congregation. + +The sprite at the extreme right is seated, and peeps over his shoulder +with a rather dreamy expression. Next come two who are playing +together, one throwing up his left arm as if to balance himself. +Beyond the candelabrum is one whose parted hair and coquettish pose of +the head give a feminine look to the figure. The sprite in the centre +of the balustrade is the most winsome of the company. His bright eyes +have spied out some one in the congregation, and stooping, he points +directly at the person. His expression is very roguish. The little +fellow with the flambeau is at the left, and last is one whose face is +turned away towards the imaginary space behind the balcony. + +Our illustration gives us a general idea of Correggio's decorative +method. The human body was his material; his patterns were woven of +nude figures, posed in every possible attitude. Every figure is in +motion, and the whole multitude palpitates with the joy of living. + + + + +XII + +ST. JOHN THE BAPTIST + + +In one of the pendentives of the cupola in the Parma Cathedral is the +figure of St. John the Baptist reproduced in our illustration. The +background is made to resemble somewhat the interior of a shell. On +billows of clouds sits the prophet, with a lamb in his arms, and a +circle of angels playing about him. + +St. John the Baptist was a cousin of Jesus, and the first to recognize +the true character of the carpenter's son. While Jesus was still +living in obscurity in Nazareth, John went forth to preach in the +wilderness about the river Jordan. His manner of life was very +singular. He "had his raiment of camel's hair and a leathern girdle +about his loins; and his meat was locusts and wild honey."[28] + +[Footnote 28: St. Matthew, chapter iii., verse 4.] + +The preacher was stern in denouncing sin and in warning evil-doers of +the wrath to come. The burden of all his sermons was, "Repent, for the +kingdom of heaven is at hand." When the people asked him what they +ought to do, his answers were full of common sense. "He that hath two +coats, let him impart to him that hath none; and he that hath meat, +let him do likewise." To the tax-collectors, he said, "Exact no more +than that which is appointed you;" to the soldiers, "Do violence to no +man, neither accuse any falsely."[29] + +[Footnote 29: St. Luke, chapter iii.] + +The authorities sent from Jerusalem to question the claims of the +strange preacher; but his reply was in the words of the old Hebrew +prophet, "I am the voice of one crying in the wilderness."[30] + +[Footnote 30: St. John, chapter i., verse 23.] + +It was the custom of John to baptize his converts in the river Jordan. +One day Jesus presented himself for baptism, and John saw in him one +whose shoe's latchet he was not worthy to unloose. At once he +proclaimed him to the people as the "Lamb of God who taketh away the +sins of the world."[31] + +[Footnote 31: _Ib._, verse 29.] + +With the entrance of Jesus upon his ministry, John's work was +fulfilled. "He must increase, but I must decrease," said the prophet +humbly.[32] He was soon after cast into prison by King Herod, whose +vices he had openly rebuked. Thence he was taken out only to be +executed. + +[Footnote 32: St. John, chapter iii., verse 30.] + +It must be confessed that Correggio cared very little about making a +true character study of St. John. There is not much in the figure of +our pendentive to suggest the stern and fearless prophet of the +wilderness. The humility of the countenance is perhaps the feature +most appropriate to the character. The shy, haunting expression in the +eyes is, too, such as belongs to one who, like St. John, lived much +alone in the woods. The tunic is short and sleeveless, showing the +strong limbs of the hermit. + +[Illustration: ST. JOHN THE BAPTIST +_Cathedral, Parma_] + +For the rest, the Baptist's face has the same gentle amiability we +have already seen in St. Matthew and Joseph. The type is a common one +with Correggio. A certain resemblance runs through nearly all his male +figures, whether of smooth-faced youth, bearded manhood, or hoary old +age. + +The tenderness of St. John for his little lamb is the chief motive of +the picture. He carries it on his left arm, supporting the weight on +his knee, and the innocent creature puts its nose close to the +prophet's face. The lamb is the accepted symbol of St. John the +Baptist, in allusion to the words with which he addressed Jesus at the +Jordan, "Behold the lamb of God." The same figure is used in the book +of Revelation, where the Lamb is described "in the midst of the +throne." Standing for the person of Christ himself, St. John holds the +sacred emblem with reverence. To understand why his face is lifted in +this direction we must remember that his glance is directed toward the +vision in the dome just above. + +The angel figures of this pendentive are among the most beautiful and +characteristic of the myriad throng of the cupola. The impression made +by this great spirit company upon one standing beneath the dome has +been described in some lines by Aubrey de Vere:-- + + "Creatures all eyes and brows and tresses streaming, + By speed divine blown back; within all fire + Of wondering zeal, and storm of bright desire. + Round the broad dome the immortal throngs are beaming, + With elemental powers the vault is teeming; + We gaze, and gazing join the fervid choir, + In spirit launched on wings that ne'er can tire." + +While the spirits in the upper part of the cupola are massed so +closely together that we do not see the full beauty of each one, these +in our picture may be studied separately. There are six in all, and +their purpose is to call the attention of the worshippers to the +prophet. The two in the rear, whose bodies are hidden in the clouds, +gaze upon him adoringly. One on each side points with outstretched +finger to the lamb, as if repeating the Baptist's words, "Behold the +lamb of God." The angel astride the cloud in front was interrupted in +the same task by a little fellow suddenly shooting out from the clouds +beneath him. He peers into the opening at one side, but still lifts +his left hand towards the prophet above him. + +The six figures are arranged in a semicircle, and their slender limbs +and lithe bodies trace rhythmic lines of grace. The most charming of +the company is perhaps he at the right, whose eyes meet ours with a +bewitching smile. + + + + +XIII + +CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN + +(Noli me tangere) + + +It was Sunday, the third day after the crucifixion of Jesus. Early in +the morning, while it was yet dark, a young woman made her way to the +rock-hewn tomb in the garden of Joseph of Arimathea. It was Mary +Magdalene, whom Jesus had rescued from a life of sin. Much had been +forgiven her, therefore she loved much. In her sorrow she came to +visit the spot where the body of her crucified Master had been laid. + +Great was her surprise to find that the stone placed at the entrance +of the tomb had been rolled away. In her perplexity, she ran to tell +the disciples Peter and John. They all hurried back together to the +garden, and the two men, entering the tomb, found it empty. Unable to +explain the mystery, they presently returned home, leaving Mary still +standing without the sepulchre weeping. + +"And as she wept, she stooped down, and looked into the sepulchre, and +seeth two angels in white sitting, the one at the head, and the other +at the feet, where the body of Jesus had lain. And they say unto her, +Woman, why weepest thou? She saith unto them, Because they have taken +away my Lord, and I know not where they have laid him. + +"And when she had thus said, she turned herself back, and saw Jesus +standing, and knew not that it was Jesus. Jesus saith unto her, Woman, +why weepest thou? whom seekest thou? She, supposing him to be the +gardener, saith unto him, Sir, if thou have borne him hence, tell me +where thou hast laid him, and I will take him away. Jesus saith unto +her, Mary. She turned herself, and saith unto him, Rabboni; which is +to say, Master. + +"Jesus saith unto her, Touch me not; for I am not yet ascended to my +Father: but go to my brethren, and say unto them, I ascend unto my +Father, and your Father; and to my God, and your God."[33] + +[Footnote 33: Chapter xx. of the Gospel according to St. John, verses +11-17.] + +Our picture illustrates the story of that first Easter morning. Jesus +has greeted Mary by name, and she has instantly recognized the Master. +Sinking on her knees, she would have impulsively stretched out her +hands to him, but he repels her with a gesture. Awe-struck, she gazes +into his face, while he explains the message she is to carry to the +disciples. + +[Illustration: CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI +ME TANGERE) +_Prado Gallery, Madrid_] + +The risen Lord is clad in but one garment, a heavy mantle, knotted at +the waist. The upper part is slipping from his shoulders, leaving the +torso bare. The beauty of the form reminds us of a Greek statue. On +the ground beside him are some garden tools, a hoe and a spade, and +beyond these lies a straw hat. These things explain why Mary, blinded +and confused with weeping, supposed that it was the gardener who spoke +to her. + +The Master's attitude and gesture emphasize the meaning of his words. +The body sways slightly to one side, as if shrinking from Mary's +touch. He still holds his right hand outstretched, as when he said +"Touch me not." And now he raises his left arm, and pointing +heavenward declares that he is about to ascend to his Father. He seems +to speak gently as to a child, and looks down into Mary's face with a +smile. + +The young woman is richly arrayed in a brocade dress, cut so as to +show her beautiful neck and arms. A mass of wavy golden hair falls +over her shoulders and upon her bosom. Her tapering wrists and +delicate hands indicate gentle blood, but her features are somewhat +heavy, and the face would not attract us by its beauty. The rapt +expression of devotion is what makes it interesting. The whole +attitude expresses complete self-forgetfulness. + +The lithe and youthful figure of Christ recalls the boy we saw in a +former picture journeying from Egypt. We can see that this is the man +into whom that child is grown. We note again the high full forehead +over which the parted hair is brushed in curves. Again, too, we see +the small mouth with the gentle smile. The figure in general features +resembles the Christ type which is illustrated in the picture of Ecce +Homo. + +In painting the figure of the risen Christ, the old masters were +accustomed to give prominence to the nail prints in hands and feet, +and the wound in his side. Correggio has not done this. Such signs of +suffering were inconsistent with the joyous nature of his art. The +subject of the picture is entirely a happy one, and he has kept out of +it all evidences of the crucifixion, emphasizing rather the idea of +the ascension. + +In some artistic points our picture resembles the Madonna della +Scodella. The pose of Christ is similar to that of Joseph, with one +arm lifted up, and the other reaching down. Thus is formed the +diagonal line which is at the basis of the composition. The right arm +of Mary carries the line on to the lower corner of the picture. + +The landscape setting makes a spacious background, and a large tree +behind Christ throws his figure into relief. + + + + +XIV + +THE MADONNA OF ST. JEROME + +(Il Giorno) + + +It is a bright clear day, and a baby boy is having a rare frolic out +of doors, on his mother's knee. It is the little Christ-child, and his +visitors are St. Jerome and Mary Magdalene. Overhead a red cloth +drapery has been stretched from tree to tree, making a sort of canopy +to protect the company from the direct rays of the sun. St. Jerome has +brought as an offering the books which represent the scholarly toil of +many years. Mary Magdalene has her jar of ointment for the anointing +of the Saviour's feet. + +The mother sits on a slight elevation in the centre, her bare foot +resting on the ground. St. Jerome 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, stoops to caress a little +foot. The sturdy old father seems to have come directly from his +monastery in Bethlehem, and his lion follows him like a faithful dog. +The old legend relates that as he sat one evening at his monastery +gate, a lion approached, holding up a paw which was pierced with a +thorn. The good father removed the thorn and dressed the wound, and +the grateful beast became thenceforth the constant companion of his +benefactor. + +The scroll in St. Jerome's right hand may be any one of his many +treatises or translations. The large open volume is undoubtedly his +Latin version of the Bible. One side of the book is supported on his +left hand, while the other is held by an attendant angel, who turns +the pages for the Christ-child. There is something very interesting on +the page now open, and the angel points a slender finger to a +particular passage. The child is wrought up to the highest pitch of +excitement. He stretches out his legs and arms, his whole body +stiffening in a tremor of joy. He fairly pants with eagerness for the +treasure just beyond his grasp. Though not a pretty boy, he is so full +of life that we find him very captivating. + +Old St. Jerome looks immensely pleased with the child's delight. The +angel playfellow is delighted with his success in amusing the baby, +and laughs sympathetically with him. The mother smiles with gentle +indulgence, and holds him firmly lest he spring from her arms. Mary +Magdalene appears almost unconscious of what is going on. Her whole +being is absorbed in loving devotion. She 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 +over her neck. In throwing out his arms, the child's left hand has +fallen on the golden head, and here it rests as if he returned the +caress. In the mean time a mischievous urchin, who may be the boy +Baptist, holds the Magdalene's jar of ointment. He stands behind her +like a small lackey, and sniffs curiously at the contents of the pot. + +[Illustration: THE MADONNA OF ST. JEROME +_Parma Gallery_] + +If it seems strange that St. Jerome and Mary Magdalene should be here +together, we must remember that the painters of Correggio's time did +not try to represent sacred scenes with historical accuracy. It was +customary to bring together in a picture persons who lived in +altogether different periods and countries. The meaning of such +pictures was symbolic. The Christians of all ages constitute a +communion of the saints who meet at the Christ-child's feet. + +The two saints here make a fine artistic contrast,--the rugged and +grizzled old man, and the lovely golden-haired maiden. The splendid +muscular strength of the one is offset against the radiant beauty of +the other. In a devotional sense also the contrast is most +appropriate. St. Jerome has served the Christ with great powers of +intellect; Mary Magdalene brings only a woman's loving heart. The one +has written great books; the other could do nothing but anoint the +Saviour's feet. Yet the two kinds of service are equally important. +St. Jerome's translations have carried the gospel over the world, and +it is written that "Wheresoever this gospel shall be preached in the +whole world, there shall also this, that this woman hath done, be told +for a memorial of her."[34] + +[Footnote 34: St. Matthew, chapter xxvi., verse 13.] + +The composition of the picture is on a diagonal plan similar to that +which we have already noticed in his pictures.[35] The structural line +may be traced from the top of St. Jerome's head across the shoulders +and back of Mary Magdalene. The edge of the canopy overhead emphasizes +this line by following the same general direction. The child's figure +behind the Magdalene balances the figure of the lion in the left +corner. + +[Footnote 35: See chapters IX. and XIII.] + +The landscape which lies beyond the canopy is an important and +beautiful part of the picture. Without this spacious distance in the +background the large figures filling the foreground would crowd the +composition unpleasantly. It is a relief to the eye to traverse this +stretch of sunny country. + +The picture makes it possible for us to understand why Correggio has +been called a painter of "light and space and motion." All three +characteristics are admirably illustrated here. In color, too, the +original painting is very fine. The Virgin wears the usual red robe +and blue mantle, the colors denoting love and constancy. St. Jerome +has a blue drapery about the hips and a crimson mantle, while the +angel's tunic and Mary Magdalene's mantle are yellow. + +It is the clear golden atmosphere flooding the scene which gives it +the Italian name of "Il Giorno," The Day. + + + + +XV + +CUPID SHARPENING HIS ARROWS + +(Detail of Dana) + + +In the imagination of the ancient Greeks all human love was inspired +by the goddess Aphrodite, Venus, aided by her son, the little archer +Cupid. It was Cupid's office to shoot the arrows of affection. Being a +mischievous fellow, he took delight in aiming his shafts at the +unsuspecting. Often his victims were so oddly chosen that it seemed as +if the marksman had shot at random. Some believed that he did his work +blindfolded. + +The poets describe Cupid as a beautiful winged boy carrying a bow and +a quiver of arrows, and sometimes a torch. He flew at will through the +wide universe, but he loved best the island of Cyprus, which was his +mother's first home. "His head has goodly curls," wrote Moschus,[36] +"but impudent is the face he wears; his little hands are tiny, 'tis +true, yet they shoot far.... Small is his arrow, yet it carries even +to the sky.... He is naked indeed, so far as his body is concerned, +but his mind is shrouded. And being winged as a bird he flies upon now +one party of men and women and now another, and settles on their +inmost hearts." + +[Footnote 36: In the first idyl, translated by J. Bank.] + +The mingled pain and delight caused by a wound of love is explained by +the fact that Cupid's arrows were tipped with gall and honey. The way +in which they were fashioned is variously described by the poets. +Anacreon has it that they were made at the forge of Vulcan, the +husband of Venus, and the blacksmith of the gods. One of this poet's +odes relates how-- + + "In the Lemnian caves of fire + The mate of her who nursed Desire + Moulded the glowing steel to form + Arrows for Cupid thrilling warm; + While Venus every barb imbues + With droppings of her honeyed dews; + And Love (alas the victim heart) + Tinges with gall the burning dart."[37] + +[Footnote 37: In Moore's translation.] + +A slightly different explanation is given by the Latin poet +Claudian:-- + + "In Cyprus' isle two rippling fountains fall + And one with honey flows, and one with gall; + In these, if we may take the tale from fame, + The son of Venus dips his darts of flame." + +However the story may run, there is but one ending. The victim of the +love-god's arrow confesses that "loving is a painful thrill," but "not +to love, more painful still." + +[Illustration: CUPID SHARPENING HIS ARROWS (DETAIL OF DANA) +_Borghese Gallery, Rome_] + +So bold was the little archer that the mightiest could not withstand +his arts. The war-god Mars, bringing his spear one day to Vulcan's +forge, smiled contemptuously at the light shafts of Cupid. "Try it," +said little Love, handing him one. Whereupon the foolish fellow cried +out in an agony of pain, and begged Cupid to take the arrow back. +Apollo, the archer of the sun, was equally imprudent, and was richly +punished for his sneers. An arrow from the fatal quiver made him mad +with unrequited love for the nymph Daphne. A being who could give so +much pain and pleasure was at once to be loved and feared. Hence all +paid homage-- + + "To Love, for heaven and earth adore him + And gods and mortals bow before him." + +In our picture, Cupid looks just as the poets have described him, a +beautiful baby boy with wings and "goodly curls." Only the milk and +honey of Cyprus could have made the little body so plump. A deep +crease marks the line of his wrist, a soft fold of flesh the neck. The +full quiver lies on the table beside him, and he is sharpening one of +the darts.[38] A little companion helps him hold the whetstone steady +while he presses the arrow tip upon its surface. Some lines of Horace +come to mind describing-- + + "Cupid sharpening all his fiery darts + Upon a whetstone stained with blood of hearts." + +[Footnote 38: Vasari says that Cupid is trying the arrow on a stone.] + +Cupid's companion is as like him as a twin, save that he has no wings. +He may be a human playfellow of the little god, or one of the brood of +loves with which the poets have peopled Cyprus. While the original +myth told of only one Cupid, imagination has multiplied his kind. We +read of the "playful rout of Cupids" attendant upon the love-god, who +rules as sovereign among them. + +The two children of the picture are intent upon their task. The very +seriousness of their manner argues some mischief in view. Evidently +they are preparing for a great conquest. The arrow must not fail of +its work, but must be sharp enough to carry the sweet poison straight +to the victim's heart. + +Both of the chubby fellows have rather large heads with clustering +ringlets. The wingless boy has the high, full forehead which marks an +active mind. Cupid seems to have the more energetic temperament of the +two, while his comrade is a bit of a dreamer. + +Our picture is a charming illustration of Correggio's love of +children. As it was not the fashion of his time to paint children's +portraits, he had to make his own opportunities for the favorite +subject. How ingenious he was we have had occasion to see in our +study. When given a sacred subject to paint he filled all the +available spaces with child angels sporting in the clouds. With the +ceiling of a room to decorate, he covered the whole surface with a +band of little boys at play. + +Our reproduction is a detail of a larger picture illustrating the myth +of Dana. The two little figures are in the lower right corner of the +canvas. + + + + +XVI + +A SUPPOSED PORTRAIT OF CORREGGIO + + +Almost every celebrated painter has at some time in his life sat for +his portrait. Many have painted their own likenesses, not so much from +motives of vanity, but as a matter of artistic interest. Others have +posed as models to their fellow painters. + +Correggio was an exception in this regard. The old biographer Vasari +made many efforts to procure a portrait, and concluded that "he never +took it himself, nor ever had it taken by others, seeing that he lived +much in retirement." + +Our painter, as we have seen, was not a student of the face. Form and +expression did not greatly interest him. He busied himself chiefly +with problems of light and shade. This is perhaps the reason why he +never thought it worth while to paint his portrait. He was not a +traveller, and probably never visited any of the great art centres of +his time. So he made no friends among the contemporary painters who +would have been likely to make his portrait. In any case his busy life +left little time for any work for himself, and if he thought at all of +a portrait, he doubtless postponed it to some more convenient season. +Waiting for such a time, his career was brought suddenly to an end. He +died of fever in Correggio at the age of forty. + +In the passing centuries one picture after another has been put +forward as a pretended portrait of Correggio. The painter's admirers +were always eager to believe that a real likeness had at last been +discovered. Though we cannot rely upon the genuineness of any of +these, some are very interesting. + +Such an one is our frontispiece, from a painting in the Parma Gallery, +pointed out as Correggio's portrait. Whoever the original may have +been, the expression is certainly animated and intelligent. There is +much humor and kindliness in the face. The unknown artist should have +the credit for the gift of revealing the individual character of his +sitter. + +Lacking an authentic portrait of the man Correggio, we have to content +ourselves with the short account of his character given by Vasari. "He +was a person," writes the biographer, "who held himself in but slight +esteem, nor could he ever persuade himself that he knew anything +satisfactorily respecting his art; perceiving its difficulties, he +could not give himself credit for approaching the perfection to which +he would so fain have seen it carried; he was a man who contented +himself with very little, and always lived in the manner of a good +Christian." + + + + +PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + +The Diacritical Marks given are those found in the latest edition of +Webster's International Dictionary. + + +EXPLANATION OF DIACRITICAL MARKS. + + +A Dash ([=]) above the vowel denotes the long sound, as in f[=a]te, [=e]ve, + t[=i]me, n[=o]te, [=u]se. +A Dash and a Dot ([.=]) above the vowel denote the same sound, less + prolonged. +A Curve ([)]) above the vowel denotes the short sound, as in [)a]dd, + [)e]nd, [)i]ll, [)o]dd, [)u]p. + +A Dot ([.]) above the vowel a denotes the obscure sound of a in p[.a]st, + [.a]b[=a]te, Am[)e]ric[.a]. + +A Double Dot () above the vowel a denotes the broad sound of a in + fther, lms. + +A Double Dot ([:]) below the vowel a denotes the sound of a in b[a:]ll. + +A Wave (~) above the vowel e denotes the sound of e in h[~e]r. + +A Circumflex Accent (^) above the vowel o denotes the sound of o in brn. + +A dot (.) below the vowel u denotes the sound of u in the French language. + +N indicates that the preceding vowel has the French nasal tone. + +G and K denote the guttural sound of ch in the German language. + +th denotes the sound of th in the, this. + + sounds like s. + +[-c] sounds like k. + +[s.=] sounds like z. + +[=g] is hard as in [=g]et. + +[.g] is soft as in [.g]em. + + +Allegri (l-l[=a]'gr[=e]). + +Altius cteris Dei patefecit arcana (l't[=.e]-[)oo]s k[=i]'t[=.a]-r[=.e]s + d[=a]'[=e] p-t[=a]-f[=a]'-k[)i]t r-k'n). + +Ambrose ([)a]m'br[=o]z). + +Anacreon ([)a]n-[)a]k'r[=.e]-[)o]n). + +Antonio (n-t[=o]'n[=e]-[=o]). + +Apollo ([.a]-p[)o]ll[=o]). + +Aphrodite ([)a]f-r[=.o]-d[=i]'t[=e]). + +Artemis (r't[=e]-m[)i]s). + +Arimathea ([)A]r-[)i]-m[.a]-th[=e][.a]). + +Athena ([)a]-th[=e]'n[.a]). + +Augustine ([a:]'g[)u]s-t[=e]n). + +Aurora ([a:]-r[=o]'r[.a]). + +Austin ([a:]s't[)i]n). + + +Bayliss, Wyke (w[)i]k b[=a]'l[)i]s). + +Bethlehem (B[)e]th'l[=e]h[)e]m). + +Berenson (b[=a]'r[)e]n-s[)o]n). + +Blashfield (bl[)a]sh'f[=e]ld). + +Burckhardt (b[=oo]rk'hrt). + + +Csar (s[=e]'z[.a]r). + +candelabrum (k[)a]n-d[=.e]-l[=a]'br[)u]m). + +Carthage (kr'th[=a]j). + +Catherine (k[)a]th'[)e]r-[)i]n). + +Caxton (k[)a]ks't[)u]n). + +Cavaliere (k-v-l[=e]-[=a]'r[=.a]). + +chiaroscuro (ky-r[=.o]-sk[=oo]'r[=.o]). + +Cicerone (ch[=e]-ch[=a]-r[=o]'n[=.a]). + +Claudian (cl[a:]'d[)i]-[=.a]n). + +Correggio (k[)o]r-r[)e]d'j[=o]). + +Costus (k[)o]s't[)u]s). + +Comus (k[=o]'m[)u]s). + +Cupid (C[=u]'p[)i]d). + +Cyprus (s[=i]'pr[)u]s). + + +Dalmatian (d[)a]l-m[=a]'sh[.a]n). + +Dana (d[=a]'n[=.a]-[=e]). + +Daphne (d[)a]f'n[=e]). + +Diana (d[=i]-[)a]n'[.a] _or_ d[=i]-[=a]'n[.a]). + + +Ecce Homo ([)e]k'k[)e] _or_ [)e]k's[=.e] h[=o]'m[=o]). + +Egypt ([=e]'j[)i]pt). + +Endymion ([)e]n-d[)i]m'[)i]-[)u]n). + +Ephesus ([)e]f'[=.e]-s[)u]s). + +Ezekiel ([=e]-z[=e]'k[)i]-[)e]l). + + +Galilee (g[)a]l'[)i]-l[=e]). + +Giorno, Il ([=e]l jr'n[=o]). + +Giovanni Evangelista (j[=o]-vn'n[=e] [=a]-vn-j[=a]-l[=e]s't). + +Guido Reni (gw[=e]'d[=o] r[=a]'n[=e]). + + +Hazlitt (H[)a]z'l[)i]tt). + +Heilige Nacht (h[=i]'l[=.e]G-[)u] nKt). + +Heaton (h[=e]'t[)u]n). + +Herod (H[)e]r'[)o]d). + +Hesperus (H[)e]s'p[~e]r[)u]s). + +Hippo (H[)i]p'p[=o]). + +Horace (hr'[=.a]s). + + +Ignem gladio ne fodias ([=.e]g'n[)e]m gl'-d[=.e]-[=o] n[=a] + f[=o]'d[=.e]-s). + +Israel ([)i]z'r[=a]-[)e]l). + + +Jameson (j[=a]'m[)e]-s[)u]n). + +Jerome (j[=e]-r[=o]m' _or_ j[)e]r'[)o]m). + +Jerusalem (J[)e]r[=u]'s[.a]l[)e]m). + +Jordan (Jr'd[.a]n). + +Juda (j[=u]-d[=e]'[.a]). + + +Keats (k[=e]ts). + +Kugler (k[=oo]g'l[~e]r). + + +Layard (L[=a]y'[.a]rd). + +Lemnian (L[)e]m'n[)i][.a]n). + + +Madonna (M[.a]d[)o]n'n[.a]). + +Magdalene (M[)a]g'd[=a]-l[=e]n). + +Marcella (mr-s[)e]l'[.a]). + +Matthew (m[)a]'th[=u]). + +Mater Dolorosa (m[=a]'t[~e]r d[)o]l-[=.o]-r[=o]'s[.a] _or_ m't[=a]r + d[=o]-l[=o]-r[=o]'s). + +Maxentius (m[)a]ks-[)e]n'sh[)i]-[)u]s). + +Mars (Mrs). + +Meyer (m[=i]'[~e]r). + +Michelangelo (m[=e]-k[)e]l-n'j[=a]-l[=o]). + +Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n'). + +Monica (M[)o]n'[)i]c[.a]). + +Moore (m[=o]r _or_ m[=oo]r). + +Moschus (m[)o]s'k[)u]s). + +Morelli (m[=o]-r[)e]l'[=.e]). + + +Nazareth (N[)a]z'[.a]r[)e]th). + +Nicodemus (n[)i]k-[=o]-d[=e]'m[)u]s). + +Noli me tangere (n[=o]'l[=.e] m[=a] tn'g[=.a]-r[=.a] _or_ n[=o]'l[=i] + m[=e] t[)a]n'j[)e]-r[=.e]). + +Notte, La (l n[=o]t't[=.a]). + +Numidia (N[=u]m[)i]d'[)i][.a]). + + +Palestine (P[)a]l'[)e]st[=i]ne). + +Paolo (P'[=o]l[=o]). + +Parma (Pr'm). + +Patmos (P[)a]t'm[)o]s). + +Paula (p[a:]'l[.a]). + +Pharisee (f[)a]r'[)i]-s[=e]). + +Piacenza (p[=e]--ch[)e]n'dz). + +Plato (Pl[=a]'t[=o]). + +Pontius Pilate (p[)o]n'sh[)i]-[)u]s p[)i]'l[=a]t). + +putti (p[)oo]t't[=e]). + + +Rabboni (R[)a]bb[=o]'n[)i]). + +Raphael (r'f[=a]-[)e]l). + +Rex Regum (r[=a]ks r[=a]'g[=oo]m). + +Ricci, Corrado (k[=o]r-r'd[=o] r[=e]t'ch[=e]). + +Ruskin (R[)u]s'k[)i]n). + + +Sala del Pergolato (s'l d[)e]l pair-g[=o]-l't[=o]). + +Scipione Montino (sh[=e]-p[=e]-[=o]'n[=.a] m[=o]n-t[=e]'n[=o]). + +Scodella (sk[=o]-d[)e]l'l). + +Sebastian (s[=.e]-b[)a]st'y[.a]n). + +Simmonds (s[)i]m'[)u]ndz). + +Symonds (s[)i]m'[)u]ndz). + +Syria (s[)i]r'[)i]-[.a]). + + +Te Deum (t[=a] d[=a]'[=oo]m _or_ t[=e] d[=e]'[)u]m). + +Titan (t[=i]'t[.a]n). + +Titian (t[)i]sh'[.a]n). + + +Umbrian ([)u]m'br[)i]-[.a]n). + + +Vasari (v s'r[=e]). + +Venus (V[=e]'n[)u]s). + +Vere, Aubrey de (a[a:]'br[)i] d[=e] v[=e]r). + +Vulcan (V[)u]l'c[.a]n). + +Vulgate (V[)u]l'g[=a]te). + + +Wordsworth (w[~e]rdz'w[~e]rth). + + +Zebedee (Z[)e]b'[)e]d[=e][=e]). + + * * * * * + + + + + +End of the Project Gutenberg EBook of Correggio, 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Hurll + </title> + <style type="text/css"> +/*<![CDATA[ XML blockout */ +<!-- + p { margin-top: .75em; + text-align: justify; + margin-bottom: .75em; + } + h1,h2,h3,h4,h5,h6 { + text-align: center; /* all headings centered */ + clear: both; + } + hr { width: 33%; + margin-top: 2em; + margin-bottom: 2em; + margin-left: auto; + margin-right: auto; + clear: both; + } + a[name] { position:absolute; } + a:link {color:#0000ff; background-color:#FFFFFF; + text-decoration:none; } + + a:visited {color:#0000ff; background-color:#FFFFFF; + text-decoration:none; } + a:hover { color:#ff0000; background-color:#FFFFFF; } + a img {border: none; } + + table { width:80%; padding: 1em; margin-left: auto; margin-right: auto;} + + .tocch { text-align: right; vertical-align: top;} + .tocpg {text-align: right; vertical-align: bottom;} + .tr {margin-left: 10%; margin-right: 10%; margin-top: 5%; margin-bottom: 5%; padding: 2em; background-color: #f6f2f2; color: black; border: solid black 1px;} + ul { list-style-type: none; } + li { padding-bottom:0.25em; padding-top:0.25em; } + .f1 { font-size:smaller; } + .img1 { border-style:solid; border-width: 1px; border-color:#000000; } + + div.index { /* styles that apply to all text in an index */ + font-size: 90%; /*small type for compactness */} + + ul.IX { + list-style-type: none; + font-size:inherit; + } + .IX li { /* list items in an index: compressed verticallly */ + margin-top: 0; + } + + + body{margin-left: 10%; + margin-right: 10%; + } + + .pagenum { /* uncomment the next line for invisible page numbers */ + /* visibility: hidden; */ + position: absolute; + left: 92%; + font-size: smaller; + text-align: right; + font-style:normal; + } /* page numbers */ + + + .blockquot{margin-left: 5%; margin-right: 10%;} + p.sig { margin-left: 75%; } +p.sig1 { margin-left: 5%; } +p.sig2 { margin-left: 10%; } + + + + .center {text-align: center;} + .smcap {font-variant: small-caps;} + + + .caption {font-weight: bold; + font-size: smaller; + } + + .figcenter {margin: auto; text-align: center;} + + .figleft {float: left; clear: left; margin-left: 0; margin-bottom: 1em; margin-top: + 1em; margin-right: 1em; padding: 0; text-align: center;} + + .figright {float: right; clear: right; margin-left: 1em; margin-bottom: 1em; + margin-top: 1em; margin-right: 0; padding: 0; text-align: center;} + + .footnotes { /* only use is for border, background-color of block */ + border: solid black 1px; /* comment out if not wanted */ + background-color: #EEE; /* comment out if not wanted */ + padding: 0 1em 1em 1em; /* one way to indent from border */ + } + .footnote {margin-left: 10%; margin-right: 10%; font-size: 0.9em;} + .footnote .label {position: absolute; right: 84%; text-align: right;} + .fnanchor {vertical-align: text-bottom; font-size: .8em; text-decoration: none;} + + .poem {margin-left:10%; margin-right:10%; text-align: left;} + .poem br {display: none;} + .poem .stanza {margin: 1em 0em 1em 0em;} + .poem span.i0 {display: block; margin-left: 0em; padding-left: 3em; text-indent: -3em;} + .poem span.i2 {display: block; margin-left: 2em; padding-left: 3em; text-indent: -3em;} + .poem span.i4 {display: block; margin-left: 4em; padding-left: 3em; text-indent: -3em;} + // --> + /* XML end ]]>*/ + </style> + </head> +<body> + + +<pre> + +The Project Gutenberg EBook of Correggio, by Estelle M. Hurll + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Correggio + A Collection Of Fifteen Pictures And A Portrait Of The + Painter With Introduction And Interpretation + +Author: Estelle M. Hurll + +Illustrator: Correggio + +Release Date: August 29, 2006 [EBook #19143] + +Language: English + +Character set encoding: ISO-8859-1 + +*** START OF THIS PROJECT GUTENBERG EBOOK CORREGGIO *** + + + + +Produced by Juliet Sutherland, Sankar Viswanathan, and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + +</pre> + + +<div class="tr"><p class="center">Transcriber's Note.</p><p> +The images in this eBook of the paintings are from the original book. +However many of these paintings have undergone extensive restoration. The restored paintings are presented as modern color images with links.</p></div> + +<div class="figcenter" style="width: 400px;"><a name="pic_1" id="pic_1"></a><span class="figcenter" style="width: 400px;"><a href="images/image_001_2.jpg"><img class="img1" src="images/image_001_1.jpg" width="400" height="547" alt="A SUPPOSED PORTRAIT OF CORREGGIO Parma Gallery" title="A SUPPOSED PORTRAIT OF CORREGGIO Parma Gallery" /></a></span><span class="caption">A SUPPOSED PORTRAIT OF CORREGGIO <br /> +Parma Gallery</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + + + +<h4>Masterpieces of Art</h4> +<p> </p> +<h1>CORREGGIO</h1> +<p> </p> +<h3>A COLLECTION OF FIFTEEN PICTURES</h3> +<h3>AND A SUPPOSED PORTRAIT OF THE</h3> +<h3>PAINTER, WITH INTRODUCTION</h3> +<h3>AND INTERPRETATION</h3> + +<p> </p> +<p> </p> +<h3>BY</h3> + + +<h2>ESTELLE M. HURLL</h2> +<p> </p> + +<div class="figcenter" style="width: 150px;"> +<img src="images/seal.jpg" width="150" height="187" alt="Seal" /> +</div> + + +<p> </p> +<h4>BOSTON AND NEW YORK</h4> + <h3> HOUGHTON MIFFLIN COMPANY</h3> + <h4>The Riverside Press Cambridge</h4> + <h3>1901</h3> + + + + + <p> </p> +<p> </p> + <p class="center">COPYRIGHT, 1901, BY HOUGHTON, MIFFLIN & CO. +</p> + + +<hr style="width: 65%;" /> +<h2>PREFACE</h2> +<p>To the general public the works of Correggio are much less familiar +than those of other Italian painters. Parma lies outside the route of +the ordinary tourist, and the treasures of its gallery and churches +are still unsuspected by many. It is hoped that this little collection +of pictures may arouse a new interest in the great Emilian. The +selections are about equally divided between the frescoes of Parma and +the easel paintings scattered through the various European galleries.</p> + +<p class="sig">ESTELLE M. HURLL.</p> + +<p class="sig1"><span class="smcap">New Bedford, Mass.</span></p> + +<p class="sig2"><i>December, 1901.</i> </p> + + + + +<hr style="width: 65%;" /> +<h2><a name="CONTENTS_AND_LIST_OF_PICTURES" id="CONTENTS_AND_LIST_OF_PICTURES"></a>CONTENTS AND LIST OF PICTURES</h2> + + + + + + + +<table summary="Contents"> +<tr><td></td> + <td></td> + <td></td> + <td></td> + <td></td><td class="tocpg f1">PAGE</td></tr> +<tr><td colspan="5" > + <span class="smcap"><a href="#pic_1">A Supposed Portrait of Correggio</a></span></td> +<td><a href="#pic_1">(<i>Frontispiece</i>)</a></td> +</tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_1">Picture from Photograph of the original painting</a></td> + <td> </td></tr> +<tr><td colspan="5"> + <span class="smcap"><a href="#INTRODUCTION">Introduction</a></span></td><td> </td> +</tr> +<tr> + <td > </td> + <td> </td> + <td class="tocch">I.</td> + <td> </td> + <td><span class="smcap"><a href="#div_1">On Correggio's Character As an Artist</a></span></td><td class="tocpg"><a href="#Page_vii">vii</a></td> +</tr> +<tr> + <td > </td> + <td> </td> + <td class="tocch">II.</td> + <td> </td> + <td><span class="smcap"><a href="#div_2">On Books of Reference</a></span></td><td class="tocpg"><a href="#Page_x">x</a></td> +</tr> +<tr> + <td > </td> + <td> </td> + <td class="tocch">III.</td> + <td> </td> + <td><span class="smcap"><a href="#div_3">Historical Directory of the Pictures of This Collection</a></span></td><td class="tocpg"><a href="#Page_xi">xi</a></td> +</tr> +<tr> + <td > </td> + <td> </td> + <td class="tocch">IV.</td> + <td> </td> + <td><span class="smcap"><a href="#div_4">Outline Table of the Principal Events In Correggio's Life</a></span></td><td class="tocpg"><a href="#Page_xiii">xiii</a></td> +</tr> +<tr> + <td > </td> + <td> </td> + <td class="tocch">V.</td> + <td> </td> + <td><span class="smcap"><a href="#div_5">List of Contemporary Painters</a></span></td><td class="tocpg"><a href="#Page_xiv">xiv</a></td> +</tr> +<tr><td class="tocch">I.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#I">The Holy Night (Detail)</a></span></td> +<td class="tocpg"><a href="#Page_1">1</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_2">Picture from Carbon Print by Braun, Clément & Co.</a></td> + <td> </td></tr> +<tr><td class="tocch">II.</td> + <td> </td> + <td> </td> + <td> </td> + <td><i><a href="#II">St. Catherine Reading</a></i></td> +<td class="tocpg"><a href="#Page_7">7</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_3">Picture from Photograph by Francis Ellis and W. Hayward, London</a></td> + <td> </td></tr> +<tr><td class="tocch">III.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#III">The Marriage of St. Catherine</a></span></td> +<td class="tocpg"><a href="#Page_13">13</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_4">Picture from Carbon Print by Braun, Clément & Co.</a></td> + <td> </td></tr> +<tr><td class="tocch">IV.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#IV">Ceiling Decoration in the Sala Del Pergolato (Hall of the Vine Trellis)</a></span></td> +<td class="tocpg"><a href="#Page_19">19</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_5">Picture from Photograph by Fratelli Alinari</a></td> + <td> </td></tr> +<tr><td class="tocch">V.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#V">Diana</a></span></td> +<td class="tocpg"><a href="#Page_25">25</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_6">Picture from Photograph by Fratelli Alinari</a></td> + <td> </td></tr> +<tr><td class="tocch">VI.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#VI">St. John the Evangelist</a></span></td> +<td class="tocpg"><a href="#Page_31">31</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_7">Picture from Photograph by Fratelli Alinari</a></td> + <td> </td></tr> +<tr><td class="tocch">VII.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#VII">St. John and St. Augustine</a></span></td> +<td class="tocpg"><a href="#Page_37">37</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_8">Picture from Photograph by D. Anderson</a></td> + <td> </td></tr> +<tr><td class="tocch">VIII.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#VIII">St. Matthew and St. Jerome</a></span></td> +<td class="tocpg"><a href="#Page_43">43</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_9">Picture from Photograph by Fratelli Alinari of the painting in water color by P. Toschi</a></td> + <td> </td></tr> +<tr><td class="tocch">IX.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#IX">The Rest on the Return From Egypt (Madonna Della Scodella)</a></span></td> +<td class="tocpg"><a href="#Page_49">49</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_10">Picture from Photograph by Fratelli Alinari</a></td> + <td> </td></tr> +<tr><td class="tocch">X.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#X">Ecce Homo</a></span></td> +<td class="tocpg"><a href="#Page_55">55</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_11">Picture from Carbon Print by Braun, Clément & Co.</a></td> + <td> </td></tr> +<tr><td class="tocch">XI.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XI">Apostles and Genii</a></span></td> +<td class="tocpg"><a href="#Page_61">61</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_12">Picture from Photograph by Fratelli Alinari of the painting in water color by P. Toschi</a></td> + <td> </td></tr> +<tr><td class="tocch">XII.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XII">St. John the Baptist</a></span></td> +<td class="tocpg"><a href="#Page_67">67</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_13">Picture from Photograph by Fratelli Alinari of the painting in water color by P. Toschi</a></td> + <td> </td></tr> +<tr><td class="tocch">XIII.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XIII">Christ Appearing To Mary Magdalene in the Garden (Noli Me Tangere)</a></span></td> +<td class="tocpg"><a href="#Page_73">73</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_14">Picture from Carbon Print by Braun, Clément & Co.</a></td> + <td> </td></tr> +<tr><td class="tocch">XIV.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XIV">The Madonna of St. Jerome</a></span></td> +<td class="tocpg"><a href="#Page_79">79</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_15">Picture from Carbon Print by Braun, Clément & Co.</a></td> + <td> </td></tr> +<tr><td class="tocch">XV.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XV">Cupid Sharpening His Arrows (Detail of Danaë)</a></span></td> +<td class="tocpg"><a href="#Page_85">85</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><a href="#pic_16">Picture from Photograph by Fratelli Alinari</a></td> + <td> </td></tr> +<tr><td class="tocch">XVI.</td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#XVI">A Supposed Portrait of Correggio</a></span></td> +<td class="tocpg"><a href="#Page_91">91</a></td></tr> +<tr><td></td> + <td> </td> + <td> </td> + <td> </td> + <td><span class="smcap"><a href="#PRONOUNCING_VOCABULARY_OF_PROPER_NAMES_AND_FOREIGN_WORDS">Pronouncing Vocabulary of Proper Names And Foreign Words</a></span></td> +<td class="tocpg"><a href="#Page_93">93</a></td></tr> +</table> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_vii" id="Page_vii">[vii]</a></span></p> +<h2><a name="INTRODUCTION" id="INTRODUCTION"></a>INTRODUCTION</h2> + +<h3><a name="div_1" id="div_1"></a>I. ON CORREGGIO'S CHARACTER AS AN ARTIST.</h3> + + +<p>The art of Correggio was very justly summed up by his first +biographer, Vasari. After pointing out that in the matter of drawing +and composition the artist would scarcely have won a reputation, the +writer goes on to say: "To Correggio belongs the great praise of +having attained the highest point of perfection in coloring, whether +his works were executed in oil or in fresco." In another place he +writes, "No artist has handled the colors more effectually than +himself, nor has any painted with a more charming manner or given a +more perfect relief to his figures." Color and chiaroscuro were +undoubtedly, as Vasari indicates, the two features of his art in which +Correggio achieved his highest triumphs, and if some others had +equalled or even surpassed him in the first point, none before him had +ever solved so completely the problems of light and shadow.</p> + +<p>Not only did he understand how to throw the separate figures of the +picture into relief, giving them actual bodily existence, but he +mastered as well the disposition of light and shade in the whole +composition. To quote Burckhardt, "In Correggio first, chiaroscuro +becomes essential to the general expression of a pictorially combined +whole; the stream of lights and reflections gives exactly the right +expression to the special moment in nature."</p> + +<p>The quality of Correggio's artistic temperament was<span class='pagenum'><a name="Page_viii" id="Page_viii">[viii]</a></span> essentially +joyous.<a name="FNanchor_1_1" id="FNanchor_1_1"></a><a href="#Footnote_1_1" class="fnanchor">[1]</a> The beings of his creation delight in life and movement; +their faces are wreathed with perpetual smiles. Hence childhood and +youth were the painter's favorite subjects. The subtleties of +character study did not interest him; and for this reason he failed in +representing old age. He was perhaps at his best among that race of +sprites which his own imagination invented, creatures without a sense +of responsibility, glad merely to be alive.</p> + +<div class="footnotes"><p><a name="Footnote_1_1" id="Footnote_1_1"></a><a href="#FNanchor_1_1"><span class="label">[1]</span></a> Tradition says that the temperament of the man himself +was exactly the reverse of that of the artist, being timid and +melancholy.</p></div> + +<p>This temperament explains why the artist contented himself with so +little variety in his types. We need not wonder at the monotony of the +Madonna's face. She is happy, and this is all the painter required of +her psychically. He took no thought even to make her beautiful: the +tribute he offered her was the technical excellence of his art,—the +exquisite color with which he painted flesh and drapery, the +modulations of light playing over cheek and neck. With hair and hands +he took especial pains, and these features often redeem otherwise +unattractive figures.</p> + +<p>In his predilection for happy subjects Correggio reminds us of +Raphael. The two men shrank equally from the painful. But where the +Umbrian's ideal of happiness was tranquil and serene, Correggio's was +exuberant and ecstatic. Raphael indeed was almost Greek in his sense +of repose, while Correggio had a passion for motion. "He divines, +knows and paints the finest movements of nervous life," says +Burckhardt.</p> + +<p>Even when he sought to portray a figure in stable equilibrium, he +unwittingly gave it a wavering pose; witness the insecurity of Joseph +in the Madonna della Scodella, and of St. Jerome in the Madonna +bearing his name. Usually he preferred some momentary attitude caught +in <span class='pagenum'><a name="Page_ix" id="Page_ix">[ix]</a></span>the midst of action. In this characteristic the painter was allied +to Michelangelo, the keynote of whose art is action.</p> + +<p>It is a curious fact that two artists of such opposed natures—the one +so light-hearted, the other burdened with the prophet's spirit—should +have so much in common in their decorative methods. Both understood +the decorative value of the nude, and found their supreme delight in +bodily motion. In a common zeal for exploiting the manifold +possibilities of the human figure, the two fell into similar errors of +exaggeration. In point of design Correggio cannot be compared with +Michelangelo. He was utterly incapable of the sweeping lines +characteristic of the great Florentine. He seldom achieved any success +in the flow of drapery, and often his disposition of folds is very +clumsy.</p> + +<p>It is interesting to fancy what Correggio's art might have been had he +been free to choose his own subjects. Limited, as he was, in his most +important commissions, to the well-worn cycle of ecclesiastical +themes, he could not work out all the possibilities of his genius. +Nevertheless, he infused into the old themes an altogether new spirit, +the spirit of his own individuality. It is a spirit which we call +distinctly modern, yet it is as old as paganism.</p> + +<p>Among the works of the old Italian masters, Correggio's art is so +anomalous that it has inevitably called forth detractors. What to his +admirers is mere childlike sweetness is condemned as "sentimentality," +innocent playfulness as "frivolity," exuberance of vitality as +"sensuality." Certainly there is nothing didactic in his art. "Space +and light and motion were what Antonio Allegri of Correggio most +longed to express,"<a name="FNanchor_2_2" id="FNanchor_2_2"></a><a href="#Footnote_2_2" class="fnanchor">[2]</a> and to these aims he subordinated all motives +of spiritual significance. One of his severest critics (Burckhardt) +has conceded that "he <span class='pagenum'><a name="Page_x" id="Page_x">[x]</a></span>is the first to represent entirely and +completely the reality of genuine nature." He, then, who is a lover of +genuine nature in her most subtle beauties of "space and light and +motion," cannot fail to delight in Correggio.</p> + +<div class="footnotes"><p><a name="Footnote_2_2" id="Footnote_2_2"></a><a href="#FNanchor_2_2"><span class="label">[2]</span></a> E. H. Blashfield in Italian Cities.</p></div> + + +<h3><a name="div_2" id="div_2"></a>II. ON BOOKS OF REFERENCE.</h3> +<p>The first biographer of Correggio was Vasari, in whose "Lives of the +Painters, Sculptors, and Architects" is included a brief account of +this painter. The student should read this work in the last edition +annotated by E. H. and E. W. Blashfield and A. A. Hopkins. Passing +over the studies of the intervening critics, Julius Meyer's biography +may be mentioned next, as an authoritative work, practically alone in +the field for some twenty-five years. This was translated from the +German by M. C. Heaton, and published in London in 1876. Finally, the +recent biography by Signor Corrado Ricci (translated from the Italian +by Florence Simmonds, and published in 1896) may be considered almost +definitive. It is issued in a single large volume, profusely +illustrated. The author is the director of the galleries of Parma, and +has had every opportunity for the study of Correggio's works and the +examination of documents bearing upon his life.</p> + +<p>General handbooks of Italian art giving sketches of Correggio's life +and work are Kugler's "Handbook of the Italian Schools," revised by A. +H. Layard, and Mrs. Jameson's "Early Italian Painters," revised by +Estelle M. Hurll.</p> + +<p>For a critical estimate of the art of Correggio a chapter in +Burckhardt's "Cicerone" is interesting reading, but the book is out of +print and available only in large libraries. In "Italian Cities," by +E. H. and E. W. Blashfield, a delightful chapter on Parma describes +Correggio's works and analyzes his art methods. Morelli's "Italian +Painters"<span class='pagenum'><a name="Page_xi" id="Page_xi">[xi]</a></span> contains in various places some exceedingly important +contributions to the criticism of Correggio's works. The author's +repudiation of the authenticity of the Reading Magdalen of the Dresden +Gallery has been accepted by all subsequent writers.</p> + +<p>Comments on Correggio are found in Symonds's volume on "The Fine Arts" +in the series "The Renaissance in Italy," and are also scattered +through the pages of Ruskin's "Modern Painters" and Hazlitt's "Essays +on the Fine Arts." The volume on Correggio in the series "Great +Masters in Painting and Sculpture" is valuable chiefly for a complete +list of Correggio's works. The text is based on Ricci.<a name="FNanchor_3_3" id="FNanchor_3_3"></a><a href="#Footnote_3_3" class="fnanchor">[3]</a></p> + +<div class="footnotes"><p><a name="Footnote_3_3" id="Footnote_3_3"></a><a href="#FNanchor_3_3"><span class="label">[3]</span></a> As this book goes to press Bernard Berenson's "The Study +and Criticism of Italian Art" makes its appearance. A portion of it is +devoted to the study of Correggio.</p></div> + + +<h3><a name="div_3" id="div_3"></a>III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION.</h3> +<p><i>Portrait frontispiece.</i> From a photograph of an alleged portrait of +Correggio in the Parma Gallery.</p> + +<p>1. <i>The Holy Night.</i>(<i>La Notte.</i>) (Detail.) Painted at the order of +Alberto Pratoneri for the altar of his chapel in the church of S. +Prospero, Reggio. Agreement signed October 10, 1522. Stolen from the +church May, 1640, and taken to Modena. Now in the Dresden Gallery. +Size of whole picture: 8 ft. 5 in. by 6 ft. 2 in.</p> + +<p>2. <i>St. Catherine Reading.</i> Conjectural date, 1526-1528. In Hampton +Court Gallery. Size: 2 ft. 1 in. by 1 ft. 8 in.</p> + +<p>3. <i>The Marriage of St. Catherine.</i> Date, according to Meyer, +1517-1519; according to Ricci, after 1522. Painted for the Grillenzoni +family of Modena. After several transfers it came into the possession +of Cardinal Mazarin, from whose heirs it was acquired for Louis XIV.'s +<span class='pagenum'><a name="Page_xii" id="Page_xii">[xii]</a></span>collection and hence became a permanent possession of the Louvre +Gallery, Paris. Size: 3 ft. 5-1/3 in. by 3 ft. 4 in.</p> + +<p>4 and 5. <i>Ceiling Decoration</i>, and <i>Diana</i>, in the Sala del Pergolata, +Convent of S. Paolo, Parma. Frescoes painted in 1518.</p> + +<p>6, 7, and 8. <i>St. John the Evangelist</i>, <i>St. John and St. Augustine</i>, +<i>St. Mark and St. Jerome</i>. Frescoes in the church of S. Giovanni +Evangelista, Parma. Painted 1520-1525.</p> + +<p>9. <i>The Rest on the Return from Egypt.</i> (<i>La Madonna della Scodella.</i>) +According to Pungileoni painted 1527-1528; according to Ricci, +1529-1530. The frame containing the picture is supposed to have been +designed by Correggio himself. It bears the date 1530, when the +picture was placed in the church of S. Sepolcro, Parma. Taken as +French booty in 1796, but returned to Parma in 1816. Now in the Parma +Gallery. Size: 7 ft. 3 in. by 4 ft. 6 in.</p> + +<p>10. <i>Ecce Homo.</i> According to Ricci, painted during a visit to +Correggio, 1521-1522; probably first belonged to the Counts Prati, of +Parma. In the seventeenth century there were three pictures of the +subject in Italy claiming to be the original. This picture was +formerly in the Colonna family; now in the National Gallery, London. +Size: 3 ft. 2-1/2 in. by 2 ft. 7-1/2 in.</p> + +<p>11 and 12. <i>Apostles and Genii</i>, and <i>St. John the Baptist</i>. Frescoes +in the Cathedral of Parma. Painted 1524-1530.</p> + +<p>13. <i>Christ appearing to Mary Magdalene in the Garden.</i> (<i>Noli me +tangere.</i>) Assigned by Ricci to 1524-1526. Described by Vasari as the +property of the Ercolani family of Bologna. Passing from one owner to +another, it was finally presented to Philip IV. of Spain, and is now +in the Prado Gallery, Madrid. Size: 1 ft. 3-1/3 in. by 1 ft. 6-1/2 +in.<span class='pagenum'><a name="Page_xiii" id="Page_xiii">[xiii]</a></span></p> + +<p>14. <i>The Madonna of St. Jerome.</i> (<i>Il Giorno.</i>) Ordered in 1523 by +Donna Briseide Colla, for the church of S. Antonio, Parma. Painted +1527-1528, according to Ricci. After the destruction of this church it +was placed in the Cathedral for safety. Seized by Napoleon in 1796. +Finally returned to Parma, and now in the Parma Gallery. Size: 4 ft. 8 +in. by 6 ft. 10 in.</p> + +<p>15. <i>Cupid sharpening his Arrow.</i> (Detail of <i>Danaë</i>.) Ordered +(1530-1533) by Federigo II., Duke of Mantua, as a gift for the Emperor +Charles V. After passing through many hands it came in 1823 into the +possession of the Borghese family, and is now in the Borghese Gallery, +Rome. Size of whole picture, 5 ft. 4 in. by 6 ft. 5 in.</p> + + +<h3><a name="div_4" id="div_4"></a>IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE.</h3> +<p><i>Compiled from Ricci's</i> Correggio, <i>to which the references to pages +apply</i>.</p> + +<p>1494. Antonio Allegri born at Correggio.</p> + +<p>1511-1513. Probably in Mantua (p. 69).</p> + +<p>1515. Madonna of St. Francis (p. 94).</p> + +<p>1518. In Parma executing the frescoes of San Paolo, April-December (p. +152).</p> + +<p>1520. Invitation to Parma from the Benedictines (p. 153). Marriage +with Girolama Merlini (p. 185).</p> + +<p>1520-1525. At work on frescoes of S. Giovanni Evangelista, Parma, with +interruptions as noted below (pp. 189-195).</p> + +<p>July, 1521-Spring, 1522. In Correggio (pp. 194, 195), and probable +execution of the Ecce Homo, Christ in Garden, and Noli me tangere (p. +226).</p> + +<p>1521. Birth of son Pomponio, September 3 (p. 185). <span class='pagenum'><a name="Page_xiv" id="Page_xiv">[xiv]</a></span></p> + +<p>1522. Visit to Reggio and commission for the Nativity (La Notte) +October (pp. 195, 294). Commission for frescoes of Parma Cathedral, +November (p. 250).</p> + +<p>1523. Visit in Correggio (p. 195). Order for Madonna of St. Jerome (p. +278).</p> + +<p>1524. Last payment for frescoes of S. Giovanni (p. 190). Birth of +daughter Francesca Letizia, December 6 (p. 185).</p> + +<p>1524-1530. Work on frescoes of the Parma Cathedral, interrupted by +visits to Correggio, as noted below (p. 273).</p> + +<p>1525. Visits to Correggio in February and August (p. 274). Madonna of +St. Sebastian painted for Confraternity of St. Sebastian at Modena (p. +275).</p> + +<p>1526. Birth of daughter Caterina Lucrezia (p. 185).</p> + +<p>1527. Visits in Correggio (p. 274).</p> + +<p>Circa 1528. Birth of daughter Anna Geria (p. 185).</p> + +<p>1528. Visit in Correggio in summer (p. 274).</p> + +<p>1529. Death of wife (p. 185).</p> + +<p>1530-1534. In Correggio (p. 307). Mythological pictures for Federigo +Gonzaga (p. 311).</p> + +<p>1534. Death of Allegri, March 5 (p. 326).</p> + + +<h3><a name="div_5" id="div_5"></a>V. LIST OF CONTEMPORARY ITALIAN PAINTERS.</h3> +<ul> +<li>Vincenzo Catena, Venetian, 1470-1532.</li> +<li>Michelangelo, Florentine, 1475-1564.</li> +<li>Lorenzo Lotto, Venetian, circa 1476-1555.</li> +<li>Bazzi (Il Sodoma), Sienese, 1477-1549.</li> +<li>Giorgione, Venetian, 1477-1510.</li> +<li>Titian, Venetian, 1477-1576.</li> +<li>Palma Vecchio, Venetian, 1480-1528.</li> +<li>Lotto, Venetian, 1480-1558.<span class='pagenum'><a name="Page_xv" id="Page_xv">[xv]</a></span></li> +<li>Raphael, Umbrian, 1483-1520.</li> +<li>Pordenone, Venetian, 1484-1539.</li> +<li>Bagnacavallo, Bolognese, 1484-1542.</li> +<li>Gaudenzio Ferrari, Milanese, 1484-1549.</li> +<li>Sebastian del Piombo, Venetian, 1485-1547.</li> +<li>Andrea del Sarto, Florentine, 1486-1531.</li> +<li>Bonifazio Veneziano, Venetian, circa 1490-1540.</li> +<li>Cima da Conegliano, Venetian, 1493-1517.</li> +<li>Pontormo, Florentine, 1493-1558.</li> +<li>Moretto, Brescian, 1500-1547.</li> +<li>Bronzino, Florentine, 1502-1572.</li> +<li>Basaiti, Venetian, first record, 1503-last record, 1520.</li> +</ul> + + + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_1" id="Page_1">[1]</a></span></p> +<h2><a name="I" id="I"></a>I</h2> + +<h3>THE HOLY NIGHT (LA NOTTE) (Detail)</h3> + + +<p>In the northern part of Italy is the little town of Correggio, which +gave its name to the painter whose works we are to study. His real +name was Antonio Allegri, but in the sixteenth century a man would +often be called by a nickname referring to some peculiarity, or to his +birthplace. When Allegri went to Parma he was known as Antonio da +Correggio, that is, Antonio from Correggio, and the name was then +shortened to Correggio.</p> + +<p>A large part of Correggio's work was mural decoration, painted on the +surface of the plastered wall. Besides such frescoes he painted many +separate pictures, mostly of sacred subjects to be hung over the +altars of churches. The choice of subjects was much more limited in +his day than now, and, with the exception of a few mythological +paintings, all Correggio's themes were religious. The subject most +often called for was that of the Madonna and Child. Madonna is the +word, meaning literally My Lady, used by the Italians when speaking of +Mary, the mother of Jesus. The Madonna and Child is then a picture of +the mother Mary holding the Christ-child.<span class='pagenum'><a name="Page_2" id="Page_2">[2]</a></span></p> + +<p>Our illustration is from such a picture called "La Notte," the Italian +for The Night. The night meant by the title is that on which Jesus was +born in Bethlehem of Judæa. It was at a time known in history as the +Augustan Age, when Rome was the great world-power. Judæa was only an +obscure province of the vast Roman Empire, but here was the origin of +the influence which was to shape later history. The coming of Jesus +brought a new force into the world.</p> + +<p>The story of his infancy has been made familiar by the four +Evangelists. He was born in surroundings which, in Roman eyes, were +fit only for slaves. Mary and Joseph had come up from their own home +to Bethlehem to pay the taxes exacted at Rome. The town was full of +people on the same errand, and "there was no room for them in the +inn." So it came about that the new-born babe was wrapped in swaddling +clothes and laid in a manger used for feeding cattle.</p> + +<p>While he lay in this strange cradle his birth was made known by a +vision of angels to some shepherds on the neighboring hillsides. At +once they betook themselves joyfully to Bethlehem, the first to do +honor to the new-born king. These homely visitors are gathered about +the manger in Correggio's picture. The dark night is without, but a +dazzling white light shines from the Holy Child.</p> + +<div class="figcenter" style="width: 500px;"> +<a name="pic_2" id="pic_2"></a><a href="images/image_003_2.jpg"><img src="images/image_003_1.jpg" width="500" height="605" alt="THE HOLY NIGHT (DETAIL) Dresden Gallery" title="THE HOLY NIGHT (DETAIL) Dresden Gallery" /></a> +<span class="caption">THE HOLY NIGHT (DETAIL) <br /> +Dresden Gallery</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_003_3.jpg">Please click here for a modern color image</a></p> + +<p>Our illustration shows only the centre of the picture, where the +mother leans over her babe. The little form lies on a bundle of hay, +completely encircled by her arms. The bend of her elbow makes <span class='pagenum'><a name="Page_5" id="Page_5">[5]</a></span>a +soft pillow for his head; her hands hold him fast in the snug nest. +With brooding tenderness she regards the sleeping child.</p> + +<p>A white cloth is wrapped loosely about the baby's body—the swaddling +band, which, when tightly drawn, is to hold the figure straight. The +fingers of one hand peep out from the folds, and one little foot is +free. For the rest we see only the downy top of the baby's head and +one plump shoulder. The little figure glows lite an incandescent body, +and the mother's face is lighted as if she were bending over a fire. +It is a girlish face, for we are told that Mary was a very young +mother. The cares of life have not yet touched the smooth brow. In her +happiness she smiles fondly upon her new treasure.</p> + +<p>We have no authentic description of Mary, the mother of Jesus, but it +is pleasant to try to picture her in imagination. As her character was +a model of womanliness, it is natural to believe her face +correspondingly beautiful. The old masters spent their lives in +seeking an ideal worthy of the subject, and each one conceived her +according to his own standards of beauty. Correggio's chief care was +for the hair and hands, which he painted, as we see here, with +exquisite skill. He was usually less interested in the other features, +and the Madonna of our picture is exceptionally lovely among his works +of this kind.</p> + +<p>The picture of La Notte illustrates very strikingly an artistic +quality for which Correggio is famous. This is <i>chiaroscuro</i>, or the +art of light and shadow,—the art by which the objects and figures of +a<span class='pagenum'><a name="Page_6" id="Page_6">[6]</a></span> picture are made to seem enveloped in light and air, as in the +actual world. The contrast between the bright light in the centre and +the surrounding darkness gives vivid reality to the figures. There is +also a symbolic meaning in the lighting of the picture. Christ is "the +light of the world;" hence his form is the source of illumination.</p> + +<p>Our picture was originally called by the simple title of The Nativity. +Then the Italians, struck by the power with which the effect of +midnight was produced, called it "La Notte," The Night. When it came +to a German gallery the Germans called it "Die Heilige Nacht," The +Holy Night. An old German Christmas carol interprets it so perfectly +that it seems as if the author must have known the picture. These are +the verses:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Silent night! Holy Night!<br /></span> +<span class="i0">All is calm, all is bright<br /></span> +<span class="i0">Round you, virgin mother and child;<br /></span> +<span class="i0">Holy infant, so tender and mild,<br /></span> +<span class="i0">Sleep in heavenly peace,<br /></span> +<span class="i0">Sleep in heavenly peace.<br /></span> +</div><div class="stanza"> +<span class="i0">"Silent Night! Holy Night!<br /></span> +<span class="i0">Shepherds quake at the sight.<br /></span> +<span class="i0">Glories stream from Heaven afar,<br /></span> +<span class="i0">Heavenly hosts sing alleluia.<br /></span> +<span class="i0">Christ the Saviour is born!<br /></span> +<span class="i0">Christ the Saviour is born!<br /></span> +</div><div class="stanza"> +<span class="i0">"Silent Night! Holy Night!<br /></span> +<span class="i0">Son of God, love's pure light<br /></span> +<span class="i0">Radiant beams from Thy holy face<br /></span> +<span class="i0">With the dawn of redeeming grace,<br /></span> +<span class="i0">Jesus, Lord, at thy birth,<br /></span> +<span class="i0">Jesus, Lord, at thy birth."<br /></span> +</div></div> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_7" id="Page_7">[7]</a></span></p> +<h2><a name="II" id="II"></a>II</h2> + +<h3>ST. CATHERINE READING</h3> + + +<p>The story of St. Catherine is very quaintly told in the old legend.<a name="FNanchor_4_4" id="FNanchor_4_4"></a><a href="#Footnote_4_4" class="fnanchor">[4]</a> +She was the daughter of "a noble and prudent king," named Costus, "who +reigned in Cyprus at the beginning of the third century," and "had to +his wife a queen like to himself in virtuous governance." Though good +people according to their light, they were pagans and worshippers of +idols.</p> + +<div class="footnotes"><p><a name="Footnote_4_4" id="Footnote_4_4"></a><a href="#FNanchor_4_4"><span class="label">[4]</span></a> The life of St. Catherine is related in the <i>Golden +Legend.</i> See Caxton's translation in the <i>Temple Classics</i>, volume +vii., page 1. Mrs. Jameson also gives an outline of the story in +<i>Sacred and Legendary Art</i>, p. 459.</p></div> + +<p>Even in her babyhood the child Catherine was "so fair of visage" that +all the people rejoiced at her beauty. At seven years of age she was +sent to school, where "she drank plenteously of the well of wisdom." +Her father was so delighted with her precocity that he had built a +tower containing divers chambers where she might pursue her studies. +Seven masters were engaged to teach her, the best and "wisest in +conning" that could be found. So rapid was their pupil's progress that +she soon outstripped them in knowledge, and from being her masters +they became her disciples.</p> + +<p>When the princess was fourteen, her father died, <span class='pagenum'><a name="Page_8" id="Page_8">[8]</a></span>leaving her heir to +his kingdom. A parliament was convened, and the young queen was +crowned with great solemnity. Then arose a committee of lords and +commons, petitioning her to allow them to seek some noble knight or +prince to marry her and defend the kingdom. Now Catherine had secretly +resolved not to marry, but she answered with a wisdom not learned +altogether from books. She agreed to marry if they would bring her a +bridegroom possessing certain qualifications which she knew were +impossible to fulfil. This silenced the counsellors, and she continued +to reign alone.</p> + +<p>In the course of time Queen Catherine became a Christian and devoted +herself to works of religion and charity. Under her teaching many of +her people were converted to the faith. It was a happy kingdom until +the Emperor Maxentius chanced to visit the royal city. He was a tyrant +who persecuted Christians. Upon his arrival he ordered public +sacrifices to idols, and all who would not join in the heathen +ceremony were slain. Then Catherine went boldly to meet the emperor +and set forth to him the errors of paganism. Though confounded by her +eloquence he was not to be convinced by the words of a mere woman. +Accordingly he summoned from divers provinces fifty masters "which +surmounted all mortal men in worldly wisdom." They were to hold a +discussion with the queen and put her to confusion. For all their +arguments, however, Catherine had an answer. So complete was her +victory that the entire company declared themselves Christians. The +angry emperor <span class='pagenum'><a name="Page_11" id="Page_11">[11]</a></span>caused them all to be burned and cast Catherine into +prison.</p> + +<div class="figcenter" style="width: 500px;"><a name="pic_3" id="pic_3"></a> + <a href="images/image_009_2.jpg"><img src="images/image_009_1.jpg" width="500" height="643" alt="ST. CATHERINE READING Hampton Court Gallery, London" title="ST. CATHERINE READING Hampton Court Gallery, London" /></a> +<span class="caption">ST. CATHERINE READING <br /> +Hampton Court Gallery, London</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + +<p>Even here she continued her good works, converting the empress and a +prince who came to visit her. A new torment was then devised for her. +Iron wheels were made, bound with sharp razors, and she was placed +between these while they were turned in opposite directions. "And anon +as this blessed virgin was set in this torment, the angel of the Lord +brake the wheels by so great force that it slew four thousand +paynims." Maxentius then commanded that she should be beheaded, and +St. Catherine went cheerfully to her death.</p> + +<p>Other virgin martyrs may have been as good and as beautiful as St. +Catherine, but none were so wise. We know her in our picture by the +book she holds. Eager to acquire all the treasures of knowledge, she +fixes her eyes on the page, absorbed in her occupation. Already she +has read more than half the thick volume, smiling with quiet enjoyment +as she reads. There is little in the face to suggest the scholar or +the bookworm. Were this a modern picture, we should fancy it a young +lady reading her favorite poet. As it is, however, we must believe +that the book is some work by Plato or another of the ancient writers +whom St. Catherine could quote so readily. We need not wonder that she +does not knit her brow over any difficult passages. What might be hard +for another to grasp is perfectly clear to her understanding.</p> + +<p>The beautiful hair coiled over her head is the only<span class='pagenum'><a name="Page_12" id="Page_12">[12]</a></span> coronet the +princess wears. There is no sign of her royalty, and we may infer that +the picture represents her in those early days of girlhood before the +cares of government were laid on the young shoulders. As we study the +position of the figure we see that the left arm rests on the rim of a +wheel, making a support for the hand holding the book. The wheel is +the emblem most frequently associated with St. Catherine, as the +reminder of the tortures inflicted by Maxentius. The palm branch +caught in the fingers of the left hand is the symbol used alike for +all the martyrs. The reference is to that passage in the book of +Revelation which describes the saints standing before the throne "with +palms in their hands."<a name="FNanchor_5_5" id="FNanchor_5_5"></a><a href="#Footnote_5_5" class="fnanchor">[5]</a></p> + +<div class="footnotes"><p><a name="Footnote_5_5" id="Footnote_5_5"></a><a href="#FNanchor_5_5"><span class="label">[5]</span></a> Revelation vii. 9.</p></div> + +<p>It is pleasant to believe that Correggio took unusual pains with this +picture of St. Catherine. The story of the lovely young princess seems +to have appealed to his imagination, and he has conceived an ideal +figure for her character. The exquisite oval of the face, the delicate +features, and the beautiful hair make this one of the most attractive +faces in his works.</p> + +<p>The light falls over the right shoulder, casting one side of the face +in shadow. The modulations of light on the chin and neck, and the +gradation in the shadow cast by the book on the hand, show Correggio's +mastery of chiaroscuro.</p> + + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_13" id="Page_13">[13]</a></span></p> +<h2><a name="III" id="III"></a>III</h2> + +<h3>THE MARRIAGE OF ST. CATHERINE</h3> + + +<p>At the time of her coronation, St. Catherine knew nothing of the +Christian faith, but she had set for herself an ideal of life she was +determined to carry out. It was her firm resolve not to marry. Her +counsellors argued that, as she was endowed with certain qualities +above all creatures, she ought to marry and transmit these gifts to +posterity. The attributes they enumerated were, first, that she came +of the most noble blood in the world; second, that she was the richest +living heiress; third, that she was the wisest, and, fourth, the most +beautiful of all human beings.</p> + +<p>The young queen replied that she would marry only one who possessed +corresponding qualities. "He must be," she said, "so noble that all +men shall do him worship," so rich that "he pass all others in +riches," so full of beauty "that angels have joy to behold him;" and +finally, he must be absolutely pure in character, "so meek that he can +gladly forgive all offences." "If ye can find such an one," she +declared, "I will be his wife with all mine heart, if he will +vouchsafe to have me."</p> + +<p>Of course all agreed that there never was and never would be a man +such as she described, and<span class='pagenum'><a name="Page_14" id="Page_14">[14]</a></span> the matter was at an end. To Catherine, +however, there came a strange conviction that her ideal was not an +impossible one. All her mind and heart were filled with the image of +the perfect husband she had conceived. She continually mused how she +might find him.</p> + +<p>While she thought on these things, an old hermit came to her one day +saying that he had had a vision, and had been sent with the message +that her chosen bridegroom awaited her. Catherine at once arose and +followed the hermit into the desert. Here it was revealed to her that +the perfect man she had dreamed of was Jesus, the Christ, and to this +heavenly bridegroom she was united in mystic marriage. Returning to +her palace she wore a marriage ring, as the perpetual token of this +spiritual union.</p> + +<p>The story explains the subject of our picture. The Christ-child, +seated on his mother's knee, is about to place a ring on St. +Catherine's finger, while St. Sebastian looks on as a wedding guest. +The infant bridegroom performs his part with delight. He holds the +precious circlet between the thumb and forefinger of his right hand, +and with his left singles out St. Catherine's ring finger. The bride's +hand rests on the mother's open palm, held beneath as a support.</p> + +<div class="figcenter" style="width: 500px;"><a name="pic_4" id="pic_4"></a> + <a href="images/image_015_2.jpg"><img src="images/image_015_1.jpg" width="500" height="512" alt="THE MARRIAGE OF ST. CATHERINE The Louvre, Paris" title="THE MARRIAGE OF ST. CATHERINE The Louvre, Paris" /></a> +<span class="caption">THE MARRIAGE OF ST. CATHERINE <br /> +The Louvre, Paris</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_015_3.jpg">Please click here for a modern color image</a></p> + +<p>All are watching the child's motions intently; the mother with quiet +pleasure, St. Sebastian with boyish curiosity, and St. Catherine +herself with sweet seriousness. Any comparison of the scene with a +human marriage is set aside by the fact that the <span class='pagenum'><a name="Page_17" id="Page_17">[17]</a></span>bridegroom is an +infant. The ceremony is of purely spiritual significance, a true +sacrament. St. Catherine's expression and manner are full of humility, +as in a religious service.</p> + +<p>The Christ-child is a robust little fellow whose chief beauty is his +curls. He has the large head which usually shows an active +temperament, and we fancy that he is somewhat masterful in his ways. +We shall see the same boy again in the picture called The Madonna of +St. Jerome.</p> + +<p>The mother, too, has a face which soon becomes familiar to the student +of Correggio's works. The eyes are full, the nose is rather prominent, +the mouth large and smiling, and the chin small. Even St. Catherine is +of the same type, except that her face is cast in a smaller and more +delicate mould. Her hair is arranged precisely like that of the +Madonna, the braids bound about the head, preserving the pretty round +contour. Both women wear dresses cut with round low necks, showing +their full throats. St. Catherine's left hand rests upon a wheel with +spiked rim, which, as we have seen, is her usual emblem. Another +emblem is the sword, whose hilt projects from behind the wheel. This +was the instrument of her execution.</p> + +<p>Special prominence is given in the picture to three sets of hands. The +skill with which they are painted is noted by critics as one of the +many artistic merits of the work. One of Browning's poems<a name="FNanchor_6_6" id="FNanchor_6_6"></a><a href="#Footnote_6_6" class="fnanchor">[6]</a> describes +an artist's meditations while trying to draw a hand. <span class='pagenum'><a name="Page_18" id="Page_18">[18]</a></span>His failure +teaches him to realize that he must study the</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Flesh and bone and nerve that make<br /></span> +<span class="i0">The poorest coarsest human hand<br /></span> +<span class="i0">An object worthy to be scanned<br /></span> +<span class="i0">A whole life long for their sole sake."<br /></span> +</div></div> + +<p>Such must have been Correggio's study to enable him to produce the +beautiful hands we see here.</p> + +<div class="footnotes"><p><a name="Footnote_6_6" id="Footnote_6_6"></a><a href="#FNanchor_6_6"><span class="label">[6]</span></a> <i>Beside the Drawing Board.</i></p></div> + +<p>St. Sebastian is a figure not to be overlooked. We may find his like +among the genii of the Parma Cathedral, which we are to study. He is a +joyous being to whom it is good merely to be alive. The elfin locks +falling about his face make him look like some creature of the woods. +We are reminded most of the faun of the Greek mythology. The arrows in +his hand suggest some sylvan sport, but in reality they are the emblem +of his martyrdom. According to tradition the young saint was bound by +his enemies to a tree, and shot with arrows.</p> + +<p>Behind the group stretches a bit of open country, and if we look +closely we can discern here two groups of small figures. One +represents the martyrdom of St. Sebastian, and the other, the +execution of St. Catherine. We may suppose that such gruesome subjects +were not the choice of the painter. It is probable that they were +dictated by his patrons, and in obeying orders he made the figures as +inconspicuous as possible.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_19" id="Page_19">[19]</a></span></p> +<h2><a name="IV" id="IV"></a>IV</h2> + +<h3>CEILING DECORATION IN THE SALA DEL PERGOLATO</h3> + +<h4>(HALL OF THE VINE TRELLIS)</h4> +<h4>(S. Paolo, Parma)</h4> +<p>In the time of Correggio the convent of S. Paolo (St. Paul) in Parma +was in charge of the abbess Giovanna da Piacenza, who had succeeded an +aunt in this office in 1507. She was a woman of liberal opinions, who +did not let the duties of her position entirely absorb her. She still +retained some social connections and was a patroness of art and +culture. The daughter of a nobleman, she was a person of consequence, +whose private apartments were such as a princess might have. Already a +well known painter of the day had decorated one of her rooms when she +heard of the rising artist Correggio. Probably advised by her relative +the Cavaliere Scipione Montino, she commissioned the young painter to +fresco a second room.</p> + +<p>The decorative scheme he designed is very beautiful and elaborate. The +square ceiling is completely covered with a simulated trellis, +embowered in foliage and flowers, and pierced by oval windows through +which children are seen at play. A circle in the centre contains the +family arms of the abbess, a shield on which three crescent moons are +set diag<span class='pagenum'><a name="Page_20" id="Page_20">[20]</a></span>onally. From this centre, as from the hub of a wheel, a +series of gilded ribs radiate towards the sides, cutting the whole +space into triangular sections whose surfaces are slightly hollowed. +The oval windows of the trellis open in these sections, one in each +triangle, and sixteen in all. Above every window hangs a bunch of +fruit, seemingly suspended from 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 sixteen lunettes +or semicircles running around the square, one in each section. The +frieze around the side walls simulates a narrow scarf caught up in +festoons between ornamented capitals formed of rams' heads. The +remaining decoration of the room is on the cap of the chimney, and +represents the goddess Diana setting forth for the chase.</p> + +<p>This picture furnishes the subject of the children's games in the +lattice bower. The little sprites are attendants of the goddess, +playing in a mimic hunt. Two or three may be seen through every +window, busy and happy in their innocent sport. One is the delighted +possessor of a quiver of arrows, from which he draws a shaft. Others +play with the hounds, pulling them hither and thither at their will. A +group of five find the hunting-horn an amusing plaything, and +good-humoredly strive together over the treasure.</p> + +<div class="figcenter" style="width: 500px;"><a name="pic_5" id="pic_5"></a> + <a href="images/image_021_2.jpg"><img src="images/image_021_1.jpg" width="500" height="636" alt="CEILING DECORATION IN THE SALA DEL PERGOLATO Convent of S. Paolo, Parma" title="CEILING DECORATION IN THE SALA DEL PERGOLATO Convent of S. Paolo, Parma" /></a> +<span class="caption">CEILING DECORATION IN THE SALA DEL PERGOLATO <br /> +Convent of S. Paolo, Parma</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + +<p>Our illustration shows a quarter section of the ceiling, from which we +can in imagination reconstruct <span class='pagenum'><a name="Page_23" id="Page_23">[23]</a></span>the whole diagram.<a name="FNanchor_7_7" id="FNanchor_7_7"></a><a href="#Footnote_7_7" class="fnanchor">[7]</a> Let us see +what the children are doing in this corner of the lattice. At the +window directly in front of us a little fellow proudly exhibits a +stag's head as a trophy of the chase. Just behind his shoulder a merry +companion, peeps out, and lower down, on the other side, appears the +head of an animal like a doe. In the next window is a boy with a +wreath of flowers with which he and a companion apparently mean to +crown the head of the stag. The third boy of the group has for the +moment lost interest in the play, his attention being attracted by +something going on outside. Now comes a boy passing by the next +window, who hastens to join the party we have just seen. His +playfellow wants to go the other way, and tries to detain him. "Come," +he says, seizing him by the arm, "there's no fun over there. See what +I have found."</p> + +<div class="footnotes"><p><a name="Footnote_7_7" id="Footnote_7_7"></a><a href="#FNanchor_7_7"><span class="label">[7]</span></a> A quarter section, mathematically exact, is of course, +square in shape. In our illustration the lower part of two lunettes is +cut off.</p></div> + +<p>We are somewhat at a loss to know just what mischief the baby in the +next window has been plotting. He grasps with both hands a tall staff, +which may be a hunting-spear, or perhaps a pole with which he hopes to +reach the fruit. In some way he has managed to get both feet through +the window, and is now in a precarious position, half in and half out. +His companion tries to draw him in; but whether he is alarmed at the +danger, or is himself eager to get the pole, we cannot tell.</p> + +<p>The lunettes of the ceiling are painted in gray, <span class='pagenum'><a name="Page_24" id="Page_24">[24]</a></span>framed in borders of +sea-shells. They are made to simulate niches containing sculptured +figures with some allegorical or mythological meaning. In our +illustration we see first the figure of Chastity, holding in her right +hand the dove, which is the emblem of innocence. The dress is the +long, plain tunic seen in Greek sculpture, and the thin stuff of which +it is made flows in graceful lines about the form. We are reminded of +Milton's lines in "Comus:"—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"So dear to Heav'n is saintly Chastity,<br /></span> +<span class="i0">That when a soul is found sincerely so,<br /></span> +<span class="i0">A thousand liveried angels lacky her,<br /></span> +<span class="i0">Driving far off each thing of sin and guilt,<br /></span> +<span class="i0">And in clear dream and solemn vision,<br /></span> +<span class="i0">Tell her of things that no gross ear can hear."<br /></span> +</div></div> + +<p>The next figure is similar in character and meaning. It is Virginity, +holding in her right hand the lily, which is the symbol of purity. The +other two figures, of which we see only the upper portion, are +Fortune, with a cornucopia, and the helmeted Athena, with spear and +torch.</p> + +<p>At the death of the abbess Giovanna in 1574, the convent of S. Paolo +entered upon a period of severe ecclesiastical discipline. For more +than two centuries it was impossible for outsiders to gain admittance, +and the "Sala del Pergolato" was a sealed treasure. Finally, in 1794, +the Academy of Parma gained permission to examine Correggio's +paintings. After the suppression of the convent the room was thrown +open to the public, and the building is now used for a school. </p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_25" id="Page_25">[25]</a></span></p> +<h2><a name="V" id="V"></a>V</h2> + +<h3>DIANA</h3> + + +<p>In classic mythology, Diana, the Greek Artemis, was the goddess of the +moon, twin sister of the sun-god Apollo. As the rays of moonlight seem +to pierce the air like arrows, Diana, like Apollo, was said to carry a +quiver of darts; the slender arc of the crescent moon was her bow. +Thence it was natural to consider her fond of hunting, and she became +the special patroness of the chase and other sylvan sports. Her +favorite haunts were groves and lakes, and she blessed the increase of +field and meadow. She was mistress of the brute creation, and showed +special favor to the bear, the boar, the dog, the goat, and the hind. +The poet Wordsworth has described how the ancient huntsman regarded +the goddess:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"The nightly hunter lifting up his eyes<br /></span> +<span class="i0">Towards the crescent moon, with grateful heart<br /></span> +<span class="i0">Called on the lovely wanderer who bestowed<br /></span> +<span class="i0">That timely light to share his joyous sport;<br /></span> +<span class="i0">And hence a beaming goddess with her nymphs<br /></span> +<span class="i0">Across the lawn and through the darksome grove<br /></span> +<span class="i0">(Not unaccompanied with tuneful notes<br /></span> +<span class="i0">By echo multiplied from rock or cave)<br /></span> +<span class="i0">Swept in the storm of chase, as moon and stars<br /></span> +<span class="i0">Glance rapidly along the clouded heaven<br /></span> +<span class="i0">When winds are blowing."<a name="FNanchor_8_8" id="FNanchor_8_8"></a><a href="#Footnote_8_8" class="fnanchor">[8]</a><br /></span> +</div></div> + +<div class="footnotes"><p><a name="Footnote_8_8" id="Footnote_8_8"></a><a href="#FNanchor_8_8"><span class="label">[8]</span></a> In <i>The Excursion.</i><span class='pagenum'><a name="Page_26" id="Page_26">[26]</a></span></p></div> + +<p>There were other pleasant beliefs about Diana such as might be +connected with the thought of the moon. As the moonlight cheers the +traveller on his way and enters the chamber of the sick and lonely, so +Diana was said to watch with the sick and help the unfortunate. The +pale, white light of the moon is a natural symbol of purity, hence +Diana was a maiden goddess above all allurements of love. Her worship +was conducted with splendid rites in various ancient cities. The +temple built in her honor at Ephesus was famous as one of the seven +wonders of the world.</p> + +<p>The ancients naturally liked to fancy the goddess very beautiful. The +Greek poet Anacreon called her "the goddess of the sun bright hair." +The English Keats, who delighted in the old Greek myths, has also +described the charms of "the haunter chaste of river sides, and woods +and heathy waste."<a name="FNanchor_9_9" id="FNanchor_9_9"></a><a href="#Footnote_9_9" class="fnanchor">[9]</a> She had "pearl round ears, white neck, orbed +brow, blush tinted cheeks," and "a paradise of lips and eyes."</p> + +<div class="footnotes"><p><a name="Footnote_9_9" id="Footnote_9_9"></a><a href="#FNanchor_9_9"><span class="label">[9]</span></a> In <i>Endymion</i>. See also Lowell's <i>Endymion</i> for a +description of Diana.</p></div> + +<p>In our picture the moon goddess is mounting her car for the nightly +course across the sky.<a name="FNanchor_10_10" id="FNanchor_10_10"></a><a href="#Footnote_10_10" class="fnanchor">[10]</a> Though she seems to be but just springing +to her place, with bending knee, she is already speeding on her way.</p> + +<div class="footnotes"><p><a name="Footnote_10_10" id="Footnote_10_10"></a><a href="#FNanchor_10_10"><span class="label">[10]</span></a> As Apollo drives the sun chariot across the sky by day. +Compare Guido Reni's Aurora.</p></div> + +<div class="poem"><div class="stanza"> +<span class="i0">"How tremulous-dazzlingly the wheels sweep<br /></span> +<span class="i0">Around their axle."<br /></span> +</div></div> + +<p>Her quiver, well filled with the bow and arrows, <span class='pagenum'><a name="Page_29" id="Page_29">[29]</a></span>hangs at her back, +held by the strap bound over her breast.<a name="FNanchor_11_11" id="FNanchor_11_11"></a><a href="#Footnote_11_11" class="fnanchor">[11]</a> The crescent moon gleams +above her brow. The vehicle is the small two-wheeled chariot used +among the Romans, scarcely larger than a chair. Only the hind legs of +the steeds may be seen, but we fancy them to be two white does.</p> + +<div class="footnotes"><p><a name="Footnote_11_11" id="Footnote_11_11"></a><a href="#FNanchor_11_11"><span class="label">[11]</span></a> It seems odd that with this full quiver the subject +should be called by some "Diana's Return from the Chase."</p></div> +<p> </p> +<div class="figcenter" style="width: 500px;"><a name="pic_6" id="pic_6"></a> + <a href="images/image_027_2.jpg"><img src="images/image_027_1.jpg" width="500" height="598" alt="DIANA Convent of S. Paolo, Parma" title="DIANA Convent of S. Paolo, Parma" /></a> +<span class="caption">DIANA <br /> +Convent of S. Paolo, Parma</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_027_3.jpg">Please click here for a modern color image</a></p> + +<p>The huntress turns her face earthward, lifting a fluttering veil high +in her left hand. It is as if the face of the moon had been hidden +behind a cloud which the goddess suddenly draws aside and shows "her +fulgent head uncovered, dazzling the beholder's sight." It is with a +bright, cheerful countenance that she beams upon her worshippers. A +sense of courage and exhilaration is expressed in her spirited +bearing. With her right hand she points forward, as if calling us to +join in the sport. In the swiftness of her motion her unbound hair and +filmy garments blow out behind her.</p> + +<p>She is a country-bred maiden, with plump neck and round arms, and her +chief charm is her buoyant vitality. Her open face, with eyes set +rather far apart, is the index of her nature. Her free life in the +woods has developed a well poised womanhood. Fear is unknown to her; +pain and disease come not near her. Rejoicing in immortal youth and +strength, she speeds nightly through the sky, the messenger of light +and comfort.</p> + +<p>As we have seen in the preceding chapter, the picture of Diana is +painted in fresco on the chimney <span class='pagenum'><a name="Page_30" id="Page_30">[30]</a></span>cap, or hood, over the great +fireplace in the Hall of the Vine Trellis. We may well believe that +the decoration went far towards furnishing the stately apartment. +Underneath runs the Latin inscription, "<i>Ignem gladio ne fodias</i>," +stir not the fire with the sword.</p> + +<p>It will be remembered that the arms of the abbess, for whom the room +was decorated, bore the device of the crescent moon. This fact may +have suggested to Correggio, or his patrons, the subject of the moon +goddess. Diana, as a virgin divinity, was an especially appropriate +choice for the apartment of a nun.</p> + +<p>The legends of Greek mythology were at that time very popular among +people of culture, having been recently brought to notice in the +revival of classic learning. In Italy they furnished themes for the +painter; in England, for the poet. The English Ben Jonson, living a +half a century later than Correggio,<a name="FNanchor_12_12" id="FNanchor_12_12"></a><a href="#Footnote_12_12" class="fnanchor">[12]</a> but representing in a certain +measure the same love of classic allusion, wrote a "Hymn to Diana," +which might have been inspired by this picture. The first stanza may +be quoted for its interpretation:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Queen and huntress, chaste and fair,<br /></span> +<span class="i0">Now the sun is laid to sleep,<br /></span> +<span class="i0">Seated in thy silver chair,<br /></span> +<span class="i2">State in wonted manner keep.<br /></span> +<span class="i0">Hesperus entreats thy light,<br /></span> +<span class="i2">Goddess excellently bright."<br /></span> +</div></div> + +<div class="footnotes"><p><a name="Footnote_12_12" id="Footnote_12_12"></a><a href="#FNanchor_12_12"><span class="label">[12]</span></a> That is, from 1573 to 1637.</p></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_31" id="Page_31">[31]</a></span></p> +<h2><a name="VI" id="VI"></a>VI</h2> + +<h3>ST. JOHN THE EVANGELIST</h3> + + +<p>It seemed understood among the twelve disciples of Jesus that John was +the one of their number especially beloved by the Master. He and his +brother, James, were the sons of the fisherman Zebedee, and all three +men earned their living in their fishing-boats on the sea of Galilee. +It was while they were busy with their nets that Jesus one day called +the two brothers to be fishers of men. "And they straightway left +their nets and followed him."<a name="FNanchor_13_13" id="FNanchor_13_13"></a><a href="#Footnote_13_13" class="fnanchor">[13]</a></p> + +<div class="footnotes"><p><a name="Footnote_13_13" id="Footnote_13_13"></a><a href="#FNanchor_13_13"><span class="label">[13]</span></a> St. Matthew, chapter iv., verse 20.</p></div> + +<p>Under the teachings of Jesus, John grew in knowledge of spiritual +things. He was one of the three accompanying their Master to the Mount +of Transfiguration, where they witnessed a sacred scene withheld from +the others. His nature was affectionate and poetic, and he was a deep +thinker. Often when the meaning of Jesus' words was beyond his +hearers, John treasured the sayings in his memory. On the evening when +Jesus sat at table with his disciples for the last time, John was near +him, leaning on his Master's breast. When, on the next day, Jesus hung +upon the cross, it was John to whom he commended his mother as to a +son. "And from that hour that disciple took her unto his own home." <span class='pagenum'><a name="Page_32" id="Page_32">[32]</a></span></p> + +<p>In the years that followed, John pursued his Christian service with +the zeal of an ardent nature. He remained awhile in Judæa and, in +company with Peter, added many converts to the faith. He then carried +the work into Asia Minor, where he founded seven churches. Not only +was he a preacher and organizer, but a voluminous writer as well. The +fourth Gospel is believed to be his work, in which he records many +words and deeds of Jesus overlooked by the other Evangelists. He was +also the writer of the three Epistles which bear his name. Finally, he +is supposed to be the author of the book of Revelation, in which he +described his visions during his exile in the isle of Patmos. +According to tradition, he lived to a great age, and died at Ephesus +in Asia Minor.</p> + +<p>The love with which Christians cherish the memory of St. John is seen +in the number of churches bearing his name. One such is that in Parma +which was newly built at the time when Correggio was winning his first +laurels. The most important portions of the interior decorations were +executed by our painter.</p> + +<p>Before considering the frescoes of the cupola, the visitor to the +church likes to pause before the lunette over the door of the left +transept. The subject is St. John, seated with his writing materials +on his lap. There is a pile of books behind him and a volume beside +him. At his feet stands the symbolic eagle pluming his wing.</p> + +<div class="figcenter" style="width: 600px;"><a name="pic_7" id="pic_7"></a> + <a href="images/image_033_2.jpg"><img src="images/image_033_1.jpg" width="600" height="372" alt="ST. JOHN THE EVANGELIST Church of S. Giovanni Evangelista, Parma" title="ST. JOHN THE EVANGELIST Church of S. Giovanni Evangelista, Parma" /></a> +<span class="caption">ST. JOHN THE EVANGELIST <br /> +Church of S. Giovanni Evangelista, Parma</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + +<p>The emblems of the Evangelists are drawn from <span class='pagenum'><a name="Page_35" id="Page_35">[35]</a></span>Ezekiel's vision of +the "four living creatures," whose faces were those of a man, a lion, +an ox, and an eagle. Applied respectively to the writers of the four +Gospels, each emblem suggests some characteristic trait. The eagle is +especially appropriate to St. John. As the bird soars into the upper +regions of the sky and looks directly at the sun, so St. John's +inspiration raised him into the highest realms of thought, where he +seemed to gaze directly upon the divine glory. It is for this that he +is called St. John, "the divine." As the Latin inscription over the +lunette reads, "More deeply than the others he disclosed the mysteries +of God."<a name="FNanchor_14_14" id="FNanchor_14_14"></a><a href="#Footnote_14_14" class="fnanchor">[14]</a></p> + +<div class="footnotes"><p><a name="Footnote_14_14" id="Footnote_14_14"></a><a href="#FNanchor_14_14"><span class="label">[14]</span></a> "Altius cœteris Dei patefecit arcana."</p></div> + +<p>In our picture the Evangelist lifts his eyes heavenward as if +beholding a vision. His lips are parted, and he has the rapt +expression of one absorbed in meditation. His right hand still holds +the pen as he pauses for inspiration.</p> + +<p>In trying to do honor to the beloved disciple, the painters have +always represented him as the most beautiful of the twelve. As the +most Christ-like in character, he is made to resemble the typical +figure of Christ. So in this fresco by Correggio, he is a beautiful +youth, with the curling hair, the oval face and the regular features +we associate with the person of Jesus. Though the beardless face is so +refined, there is nothing weak or effeminate about it. The whole +figure is indeed very manly. The head is well set on a full throat and +the shoulders are broad. Rising to his feet St. John would be a <span class='pagenum'><a name="Page_36" id="Page_36">[36]</a></span>tall, +athletic young man, capable of lending a strong hand at his father's +fishing-nets. The union of strength and refinement makes the picture +one of the most attractive ideals of St. John ever painted.</p> + +<p>The keynote of St. John's Gospel is the love of God; his ardent nature +never wearied of the theme; the wonder in his lifted face shows him +still intent upon the mystery. Were we to seek some characteristic +utterance which should appropriately interpret his thoughts, it might +well be the words of Jesus to Nicodemus, "God so loved the world that +he gave his only begotten son, that whosoever believeth in him should +not perish, but have everlasting life."<a name="FNanchor_15_15" id="FNanchor_15_15"></a><a href="#Footnote_15_15" class="fnanchor">[15]</a></p> + +<div class="footnotes"><p><a name="Footnote_15_15" id="Footnote_15_15"></a><a href="#FNanchor_15_15"><span class="label">[15]</span></a> St. John, chapter iii., verse 16.</p></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_37" id="Page_37">[37]</a></span></p> +<h2><a name="VII" id="VII"></a>VII</h2> + +<h3>ST. JOHN AND ST. AUGUSTINE</h3> + + +<p>The church of S. Giovanni Evangelista (St. John the Evangelist), in +Parma, is built with a dome-shaped cupola which Correggio filled with +a fresco decoration. The subject is drawn from the life of the apostle +whose name is given to the church: it is the vision of St. John on the +isle of Patmos. Looking up into the dome, one seems to be looking +directly into the open sky, upon the figure of Christ ascending into +heaven. The apostles sit in a circle on the clouds, and beneath them +the aged St. John kneels on the mountain top, gazing upwards upon the +vision. The heavenly spaces are alive with angels, for, as Browning +writes:—</p> + +<div class="poem"><div class="stanza"> +<span class="i2">"Correggio loves to mass, in rifts<br /></span> +<span class="i0">Of heaven, his angel faces, orb on orb."<br /></span> +</div></div> + +<p>The little creatures are sporting among the clouds and, in the poet's +phrase, "waiting to see some wonder momently grow out."</p> + +<p>Where the dome rests upon the four arches which support it, are four +triangular corner-pieces called pendentives, which also belong to +Correggio's decorative plan. They are devoted respectively to the +figures of the four Evangelists, each one accompanied by one of the +four Fathers of the Church. The<span class='pagenum'><a name="Page_38" id="Page_38">[38]</a></span> Christian Fathers were the men whose +writings and teachings shaped the doctrines of the faith in the early +centuries of our era. They interpreted for the people the meaning of +the Scriptures and the Gospels.</p> + +<p>The pendentive of our illustration contains St. John with St. +Augustine. The two sit side by side, engaged in a discussion over the +book which they hold together. St. John is young and beautiful, as the +painters always represent him, except in the subject of the vision of +Patmos. The face is perhaps less strong and the expression less +exalted than in the lunette we have studied. There is a boyish +eagerness in his manner. The symbolic eagle is beside him, peeping out +from the folds of the drapery. St. Augustine is a handsome old man +with finely cut features. To understand how well the figure fits his +character, we must know something of his life.<a name="FNanchor_16_16" id="FNanchor_16_16"></a><a href="#Footnote_16_16" class="fnanchor">[16]</a></p> + +<div class="footnotes"><p><a name="Footnote_16_16" id="Footnote_16_16"></a><a href="#FNanchor_16_16"><span class="label">[16]</span></a> The life of St. Augustine, also called St. Austin, is +related in the <i>Golden Legend</i>. See Caxton's translation in the +<i>Temple Classics</i>, vol. 5, page 44. Mrs. Jameson gives a condensed +account of the life in <i>Sacred and Legendary Art</i>, p. 303.</p></div> + +<p>He was born in Numidia near the middle of the fourth century, and +showed in his boyhood brilliant powers of mind. Without the help of +any teacher he read and mastered all the books necessary to an +education in the liberal arts. His mother, Monica, was a devout +Christian, and sought to lead her son to a godly life. For a long time +her efforts seemed in vain. Augustine would make no profession of the +Christian faith, but rather indulged in youthful <span class='pagenum'><a name="Page_41" id="Page_41">[41]</a></span>dissipations. His +best quality was his love of study. He became a teacher of rhetoric, +and pursued his vocation in one city and another, always dissatisfied +with his life. At length, in his thirtieth year, he came to Milan, +where he fell under the influence of Bishop Ambrose. Then followed a +mighty struggle in his soul, and in the end he yielded himself +joyfully as a disciple of Christ. On the occasion of his baptism was +composed the hymn called the "Te Deum" which is still used in +churches.</p> + +<div class="figcenter" style="width: 600px;"><a name="pic_8" id="pic_8"></a> + <a href="images/image_039_2.jpg"><img src="images/image_039_1.jpg" width="600" height="452" alt="ST. JOHN AND ST. AUGUSTINE Church of S. Giovanni Evangelista, Parma" title="ST. JOHN AND ST. AUGUSTINE Church of S. Giovanni Evangelista, Parma" /></a> +<span class="caption">ST. JOHN AND ST. AUGUSTINE <br /> +Church of S. Giovanni Evangelista, Parma</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + +<p>Henceforth the life of Augustine was filled with Christian labors. +After some ten years of devout living he became the bishop of Hippo +(near Carthage) where he resided for thirty-five years, until his +death in 430. All his stores of learning were devoted to the +explanation of Christian theology. He wrote a great number of +treatises refuting what he believed to be heresies, and setting forth +what he considered the true doctrines of the faith. An old writer +pronounced him "sweet in speech, wise in letters, and a noble worker +in the labours of the church." In a book of "Confessions" he laid bare +all his faults with great humility.</p> + +<p>In our picture the good bishop is learning the truths of the faith +from St. John, while a child-angel behind him holds his crosier and +mitre. Allowing for the difference of ages, there is a certain +resemblance between the two men, showing that they have in common a +refined and sensitive nature, and an ardent temperament. The older +man's face shows lines of thought and character.<span class='pagenum'><a name="Page_42" id="Page_42">[42]</a></span></p> + +<p>St. John seems to be counting off the points of the discussion on his +fingers: it may be that he is unfolding the doctrine of the Trinity. +The bishop follows the argument slowly, imitating St. John's gesture +with hesitating hands. What seems so clear to the eager young teacher +requires much deliberation on the part of the learner. The old man +knits his brows with an intent expression, striving to understand the +mystery. The two earnest faces turned towards each other make an +interesting contrast.</p> + +<p>The angel figures of the pendentive are worthy of notice. Three little +creatures are frolicking on the clouds below the saints' feet, and two +are perched on the upper part of the arches. They are wingless +sprites, playful as human children, but with a grace and beauty not of +earth. Two seem to be emerging from a hiding-place in the clouds, and +gaily hail their comrade on the arch above. The lovely sprite on the +opposite arch is thinking of other things, and looks over his shoulder +across the church. The tiny fellow in charge of the mitre and crosier +peeps out with a mischievous countenance.</p> + +<p>Our reproduction shows a portion of the soffits, or under sides of the +arches, decorated with figures from Old Testament history, painted in +monochrome. </p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_43" id="Page_43">[43]</a></span></p> +<h2><a name="VIII" id="VIII"></a>VIII</h2> + +<h3>ST. MATTHEW AND ST. JEROME</h3> + + +<p>The apostle Matthew was employed as a tax-gatherer in Jerusalem when +he became a disciple of Jesus. He was sitting one day at the receipt +of customs, when Jesus passed by and said unto him, "Follow me." "And +he left all, rose up and followed him."<a name="FNanchor_17_17" id="FNanchor_17_17"></a><a href="#Footnote_17_17" class="fnanchor">[17]</a> Soon after, the new +disciple made a great feast for the Master, scandalizing the scribes +and Pharisees by inviting guests of doubtful reputation. Matthew, +however, had rightly judged the spirit of Jesus, who had come "not to +call the righteous, but sinners to repentance." Throughout the +ministry of Jesus, Matthew remained a faithful disciple, but without +distinguishing himself in any way. Evidently he had a thoughtful mind +and a good memory. In his Gospel he reported very fully the Sermon on +the Mount and many of the parables.</p> + +<div class="footnotes"><p><a name="Footnote_17_17" id="Footnote_17_17"></a><a href="#FNanchor_17_17"><span class="label">[17]</span></a> St. Luke, chapter v., verse 28.</p></div> + +<p>One of the pendentives of the cupola in the church of S. Giovanni +Evangelista is devoted to St. Matthew in company with St. Jerome. The +Evangelist turns from the open Gospel before him to speak to St. +Jerome, who is occupied with his writing. A winged cherub, sitting on +a cloud in front of him, supports his book with both outstretched +arms. <span class='pagenum'><a name="Page_44" id="Page_44">[44]</a></span>The cherub is St. Matthew's emblem, as the eagle is that of St. +John. It is by this charming figure that the old masters represented +the face of "a man," that is, the human face, in the "living creature" +of Ezekiel's vision.<a name="FNanchor_18_18" id="FNanchor_18_18"></a><a href="#Footnote_18_18" class="fnanchor">[18]</a> The symbol is appropriately applied to the +first Evangelist because his Gospel emphasizes the humanity of Jesus.</p> + +<div class="footnotes"><p><a name="Footnote_18_18" id="Footnote_18_18"></a><a href="#FNanchor_18_18"><span class="label">[18]</span></a> See also pages 34, 35.</p></div> + +<p>The token of St. Jerome's identity is the cardinal's hat, held by an +angel on the arch beside him. The two volumes on his lap, in addition +to the scroll upon which he is engaged, show how busy has been the pen +of this learned Father. As the old chronicler relates, "he never +rested day ne night, but always read or wrote."<a name="FNanchor_19_19" id="FNanchor_19_19"></a><a href="#Footnote_19_19" class="fnanchor">[19]</a></p> + +<div class="footnotes"><p><a name="Footnote_19_19" id="Footnote_19_19"></a><a href="#FNanchor_19_19"><span class="label">[19]</span></a> The life of St. Jerome is related in the <i>Golden +Legend</i>. See Caxton's translation, in the <i>Temple Classics</i>, vol. v., +page 199. Mrs. Jameson gives a condensed account of the same in +<i>Sacred and Legendary Art</i>, page 280.</p></div> + +<p>He came of a rich family, and received at Rome the best education +afforded by his times. Like his contemporary, St. Augustine, he +devoted all his scholarship to the service of the Christian faith. +While St. Augustine's tastes were more philosophical, St. Jerome's +were perhaps more for pure learning and the study of the classics. He +made himself master of Hebrew and Greek, and his most valuable work +was his translations. He rendered into Latin, which was the literary +language of his day, the various books of the Old and New Testament, +and this version became the authorized Bible or Vulgate.</p> + +<div class="figcenter" style="width: 600px;"><a name="pic_9" id="pic_9"></a> + <a href="images/image_045_2.jpg"><img src="images/image_045_1.jpg" width="600" height="457" alt="ST. MATTHEW AND ST. JEROME Church of S. Giovanni +Evangelista, Parma" title="ST. MATTHEW AND ST. JEROME Church of S. Giovanni Evangelista, Parma" /></a> +<span class="caption">ST. MATTHEW AND ST. JEROME <br /> +Church of S. Giovanni Evangelista, Parma</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + +<p>St. Jerome was a Dalmatian by birth, but in the <span class='pagenum'><a name="Page_47" id="Page_47">[47]</a></span>course of his life +he journeyed to many countries. Soon after his baptism, he visited +Syria, to retrace the scenes of the life of Christ. He then retired to +a desert, where he passed four years in penance and fasting, living in +the companionship of wild beasts. Clothed in sackcloth, he spent his +days in torture, struggling with temptation, and haunted by visions of +demons.</p> + +<p>At a later period of his life he was in Rome, where he gained an +immense influence over fashionable women. Two of his converts here +were Paula and Marcella, whose names are historical. Finally he +returned to Palestine, and passed the remainder of his days in a +monastery which he had founded in Bethlehem. He was a man of vehement +nature, a violent partisan, and an untiring student.</p> + +<p>Something of his character may be seen in the face of the old man of +our picture, bending over his writing. He seems so absorbed in his +task that he is entirely unconscious of his surroundings. The deep-set +eyes, overhung by shaggy brows, are fixed intently on his scroll. From +his association with St. Matthew, we may fancy that he is translating +the first Gospel. The Evangelist, with his own volume before him, is +supervising the work. He turns to the translator with an encouraging +smile, and seems to dictate the words. St. Matthew's face is gentle +and amiable, though not so strong as we are wont to imagine it. He is +here represented in middle life, at about the age when called to +discipleship.</p> + +<p>As in the pendentive of St. John and St. Augus<span class='pagenum'><a name="Page_48" id="Page_48">[48]</a></span>tine, the angel figures +add an element of beauty to the picture. Each one seems attracted by +some distant object. The cherub holding St. Matthew's book looks +towards the worshippers in the church. Some one in the congregation +also seems to attract the attention of the angel with the cardinal's +hat, and he smiles shyly, as if in reply to a gesture of admiration. +His companion on the other arch turns his eyes towards the figures in +the dome, where the apostles are enthroned on clouds. The playful +little fellow on the clouds below St. Matthew's feet looks across at +the sprites of the opposite pendentive.</p> + +<p>All this charming by-play gives the impression of a company of living +spirits frolicking among the arches of the church. "Have Correggio's +<i>putti</i><a name="FNanchor_20_20" id="FNanchor_20_20"></a><a href="#Footnote_20_20" class="fnanchor">[20]</a> grown up yet and walked out of their frames?" the painter, +Guido Reni, used to ask, referring with quaint humor to the wonderful +lifelikeness of such child figures. So, looking at these angels, we +half expect to see them wave a hand to us over the arches, and, +turning with a sudden motion, disappear from our sight among the +clouds.</p> + +<div class="footnotes"><p><a name="Footnote_20_20" id="Footnote_20_20"></a><a href="#FNanchor_20_20"><span class="label">[20]</span></a> Italian for "boys."</p></div> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_49" id="Page_49">[49]</a></span></p> +<h2><a name="IX" id="IX"></a>IX</h2> + +<h3>THE REST ON THE RETURN FROM EGYPT</h3> + +<h4>(The Madonna della Scodella)</h4> +<p>Before the child Jesus was two years old, he was taken on a journey +which at that time was long and tedious. An angel appeared to Joseph +one night in a dream, saying, "Arise, and take the young child and his +mother, and flee into Egypt, and be thou there until I bring thee +word; for Herod will seek the young child to destroy him."</p> + +<p>The news of Jesus' birth had been first brought to King Herod by the +wise men of the East, who came in search of the new-born king whose +star they had seen. The idea of a strange ruler to usurp the throne +alarmed Herod, and he determined to be rid of any possible rival. +Accordingly orders were given to slay all children in and near +Bethlehem "from two years old and under."</p> + +<p>While this terrible slaughter was going on, the Holy Family were +making their way to the strange land of refuge. Here they lived, +awaiting heavenly guidance for their return. "But when Herod was dead, +behold an angel of the Lord appeareth in a dream to Joseph in Egypt, +saying, Arise, and take the young child and his mother, and go into +the land of Israel; for they are dead which sought<span class='pagenum'><a name="Page_50" id="Page_50">[50]</a></span> the young child's +life. And he arose, and took the young child and his mother, and came +into the land of Israel."<a name="FNanchor_21_21" id="FNanchor_21_21"></a><a href="#Footnote_21_21" class="fnanchor">[21]</a></p> + +<div class="footnotes"><p><a name="Footnote_21_21" id="Footnote_21_21"></a><a href="#FNanchor_21_21"><span class="label">[21]</span></a> The quotations are from St. Matthew, chapter ii.</p></div> + +<p>This is all the Evangelist tells us of what was doubtless an exciting, +perhaps even a perilous adventure. We may suppose both journeys to +have been made by donkeys, the common beasts of burden in Eastern +countries. The young mother and child must certainly have had to ride. +As for Joseph, he was a sturdy man, and may well have walked; in those +days travelling was a matter of time. Unused to luxuries, these simple +folk trusted in Providence to supply their few needs by the way.</p> + +<p>Our picture illustrates an imaginary incident on the return journey +from Egypt to Israel. It is the hour of the noonday rest, and the +little company have come to a halt in the woods. An old legend relates +how at such times the trees would bend to offer them fruit, and +springs would gush forth out of the dry ground for their refreshment. +Mary has seated herself on a bank by the stream, while Joseph plucks +the fruit from the date palm near by.</p> + +<p>The boy Jesus has been standing between the two, watching Joseph, from +whose outstretched hand he now takes the fruit. At the same time he is +thirsty, and leaning back towards his mother, he turns and throws an +arm over her shoulder, asking for a drink of water. She has a round +basin (or <i>scodella</i>) which the family use as a drinking-cup, and the +child points to it with a coaxing smile, resting his hand on her +wrist.</p> + + + +<div class="figcenter" style="width: 500px;"><a name="pic_10" id="pic_10"></a> + <a href="images/image_051_2.jpg"><img src="images/image_051_1.jpg" width="500" height="764" alt="THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA +SCODELLA) Parma Gallery" title="THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) Parma Gallery" /></a> +<span class="caption">THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) <br /> +Parma Gallery</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_051_3.jpg">Please click here for a modern color image</a></p> + +<p><span class='pagenum'><a name="Page_53" id="Page_53">[53]</a></span></p> + +<p>Mary turns with fond pride towards the dear little face so near her +own. Her face is the same which we have already seen bending in a +mother's first ecstasy over her babe. Here it has a maturer and more +matronly look, but with no less sweetness. Joseph, from his higher +level, looks down kindly upon the two. His generous nature seems to +take delight in anything that gives them pleasure. He is large and +heavily built, a stalwart protector should perils beset them. In spite +of the thick draperies so clumsily wound about him, he is a dignified +figure. He holds here a place of prominence seldom given him by other +painters.</p> + +<p>The child upon whom so much love is lavished is a tall, lithe boy with +a well shaped head. His hair is parted, and falls in loose curls on +each side of a forehead which marks him a child of genius. The face is +delicate and sensitive, with a shy expression in the eyes.</p> + +<p>The family are not alone, for, all unseen by them, a company of +ministering angels wait upon them. A tall one in the rear takes care +of the donkey. Another little creature peeps from the thicket beside +Mary. Four more circle overhead among the branches of the trees, borne +upon little clouds which they have brought with them from the upper +regions. Their wind-blown hair and fluttering garments show how swift +is their motion. One of them tugs mightily at the palm, throwing +himself backward in the effort to bend it towards Joseph. Two others +sport together with interlocked arms, and higher still, a pair of<span class='pagenum'><a name="Page_54" id="Page_54">[54]</a></span> +eyes gleam through the leaves. The whole jocund company seem to fill +the place with mirth. They fulfil the promise of the ancient psalmist, +"He shall give his angels charge over thee, to keep thee in all thy +ways."</p> + +<p>Certain characteristics of Correggio's art are well illustrated in the +picture. His delight in the foot is here almost equal to that he shows +for the hand in "The Marriage of St. Catherine." The three wayfarers +travel with bare feet, and the ministering angels flaunt their feet +gaily in the air. Drawn in many positions, it is interesting to see +how decorative this feature of the picture is.</p> + +<p>The figures are cleverly grouped, that they may completely fill the +tall, narrow panel. The composition is built on a diagonal plan. From +the left hand of Joseph, grasping the palm branch, to the right hand +of Mary, with the basin of water, runs the strong main line which +gives character to the drawing. The child links the two larger figures +together, by stretching out a hand to each. The group of cloud-borne +angels above also follows a diagonal direction parallel to the larger +group. We shall presently see that the painter used the same method of +composition in another picture.</p> + +<p>The opening beyond the copse, where the donkey is tied, makes the spot +seem less gloomy and isolated. It is an important principle of art to +represent no enclosed place without a glimpse of light in the +background. </p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_55" id="Page_55">[55]</a></span></p> +<h2><a name="X" id="X"></a>X</h2> + +<h3>ECCE HOMO</h3> + + +<p>The old Hebrew prophet who wrote of the coming Messiah predicted that +he should be "despised and rejected of men, a man of sorrows, and +acquainted with grief." How fully the prophecy was realized, we may +read in the narrative of the trial and crucifixion of Jesus.</p> + +<p>The enemies of Jesus had to deal with their prisoner according to the +formality of the Roman law. They brought him to the Roman governor, +Pontius Pilate, accusing him of "perverting the nation, and forbidding +to give tribute to Cæsar, saying that he himself is Christ, a +king."<a name="FNanchor_22_22" id="FNanchor_22_22"></a><a href="#Footnote_22_22" class="fnanchor">[22]</a> The governor duly examined Jesus, but, finding no case +against him, proposed to scourge him and let him go.</p> + +<div class="footnotes"><p><a name="Footnote_22_22" id="Footnote_22_22"></a><a href="#FNanchor_22_22"><span class="label">[22]</span></a> St. Luke, chapter xxiii., verse 2.</p></div> + +<p>"Then Pilate therefore took Jesus and scourged him. And the soldiers +platted a crown of thorns and put it on his head, and they put on him +a purple robe, and said, Hail, King of the Jews! and they smote him +with their hands. Pilate therefore went forth again, and saith unto +them, Behold, I bring him forth to you, that ye may know that I find +no fault in him. <span class='pagenum'><a name="Page_56" id="Page_56">[56]</a></span></p> + +<p>"Then came Jesus forth, wearing the crown of thorns, and the purple +robe. And Pilate saith unto them, Behold the man! When the chief +priests therefore and officers saw him, they cried out, saying Crucify +him, Crucify him."<a name="FNanchor_23_23" id="FNanchor_23_23"></a><a href="#Footnote_23_23" class="fnanchor">[23]</a> Pilate again sought to release Jesus, but the +people continued to clamor, "Away with him," "Crucify him." "Then +delivered he him therefore unto them to be crucified."<a name="FNanchor_24_24" id="FNanchor_24_24"></a><a href="#Footnote_24_24" class="fnanchor">[24]</a></p> + +<div class="footnotes"><p><a name="Footnote_23_23" id="Footnote_23_23"></a><a href="#FNanchor_23_23"><span class="label">[23]</span></a> St. John, chapter xix., verses 1-6.</p> + +<p><a name="Footnote_24_24" id="Footnote_24_24"></a><a href="#FNanchor_24_24"><span class="label">[24]</span></a> <i>Ib.</i>, verse 16.</p></div> + +<p>The Latin form of Pilate's words, "Behold the man," has given the +title "Ecce Homo" to our picture. It is the moment when Jesus comes +forth from the rude mockery of the soldiers, clad in a royal robe, and +wearing the crown of thorns. The governor has bidden one of the +soldiers lead the prisoner out on a balcony of the palace. An eager +throng of people are waiting outside, but they are not all enemies. +Among them are a few faithful women, and they are allowed to press +close to the balcony. At the sight of her son, treated as a criminal +with bound hands, the mother, Mary, falls swooning over the +balustrade, supported by a younger woman.</p> + +<p>Pilate standing in the doorway behind appeals to the crowd: "I find no +fault in him. Behold the man." He has been deeply impressed by his +interview with Jesus, and is willing to do something in his behalf. +His face is good-natured, we see, but with no strength of character in +it. He is a handsome man with curling beard carefully trimmed, +apparently not a hard man to deal with, but easy-going and selfish. </p> + +<div class="figcenter" style="width: 500px;"><a name="pic_11" id="pic_11"></a> + <a href="images/image_057_2.jpg"><img src="images/image_057_1.jpg" width="500" height="617" alt="ECCE HOMO National Gallery, London" title="ECCE HOMO National Gallery, London" /></a> +<span class="caption">ECCE HOMO <br /> +National Gallery, London</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_057_3.jpg">Please click here for a modern color image</a></p> + +<p><span class='pagenum'><a name="Page_59" id="Page_59">[59]</a></span></p> + +<p>Jesus stands with drooping head and an expression of suffering +resignation. In the menacing faces before him he sees the hatred which +will be satisfied with nothing less than his death. Already he hears +the cruel cry, "Crucify him, crucify him." His badge of kingship is +the crown of suffering. Were his kingdom of this world, his servants +would deliver him from his enemies. As the ruler of a heavenly +kingdom, he was born "to bear witness unto the truth."</p> + +<p>The rich mantle, which the soldiers have mockingly thrown over his +shoulders, falls away and shows the body as it had been bared for the +scourging. It is a beautiful form, perfectly developed, and the arms +and hands are as delicately modelled as a woman's. The face is oval, +with regular features of classic mould, a short parted beard, and long +hair falling in disordered curls about it. This is the typical face of +Christ, as it has been handed down from generation to generation since +early in the Christian era. The rude pictures in the catacombs are on +the same model. So faithfully has the type been followed through the +centuries, some believe that the original must have been an authentic +likeness.<a name="FNanchor_25_25" id="FNanchor_25_25"></a><a href="#Footnote_25_25" class="fnanchor">[25]</a></p> + +<div class="footnotes"><p><a name="Footnote_25_25" id="Footnote_25_25"></a><a href="#FNanchor_25_25"><span class="label">[25]</span></a> See <i>Rex Regum</i>, by Sir Wyke Bayliss.</p></div> + +<p>The mother Mary is still young and beautiful. As the great +Michelangelo said, "Purity enjoys eternal youth."<a name="FNanchor_26_26" id="FNanchor_26_26"></a><a href="#Footnote_26_26" class="fnanchor">[26]</a> A heavy veil or +mantle is draped <span class='pagenum'><a name="Page_60" id="Page_60">[60]</a></span>over her head, framing the pure profile of her face. +This form of drapery is common among the old masters in painting Mary +as <i>Mater Dolorosa</i>, or the Sorrowing Mother.</p> + +<div class="footnotes"><p><a name="Footnote_26_26" id="Footnote_26_26"></a><a href="#FNanchor_26_26"><span class="label">[26]</span></a> See the volume on Michelangelo in the <i>Riverside Art +Series</i>, page 35.</p></div> + +<p>Artistically considered, this figure of the fainting mother is the +finest thing in the picture. Her companion, probably Mary Magdalene, +is also a lovely creature, though we see only a part of her face.</p> + +<p>The subject is in tragic contrast to the illustrations we have just +been studying. It seems strange to connect this Man of Sorrows with +the happy boy we saw by the woodland spring, or this grief-stricken +woman with that proud young mother. Correggio himself, we know, shrank +from such sad themes.</p> + +<p>Like the picture of The Marriage of St. Catherine, our illustration +shows how skilfully Correggio painted hands. The drooping fingers of +the Saviour taper delicately, with long almond-shaped nails. Pilate's +hand has slender, flexible fingers like those of some dainty woman, +and might be mated with that of Mary Magdalene. It is apparent that +the study of hands and feet interested our painter more than that of +faces. We shall lose much in his pictures if we do not give special +attention to these features. In the case before us, the face of Christ +must be less attractive, on account of the sorrowful expression. To +make up, as it were, for this, the hands are brought into prominent +notice, and are very beautiful.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_61" id="Page_61">[61]</a></span></p> +<h2><a name="XI" id="XI"></a>XI</h2> + +<h3>APOSTLES AND GENII</h3> + + +<p>The glory of Parma is the Cathedral, which represents the labors of +many centuries. The building itself was begun in 1058, and completed +in the thirteenth century. The interior was beautified by a succession +of artists, one of whom was our painter Correggio. His work here was +the decoration of the cupola, and he began it immediately upon +finishing the frescoes in the church of S. Giovanni Evangelista.</p> + +<p>The Cathedral dome is octagonal in shape. In the roof, or topmost +space, the Virgin Mary seems borne on circling throngs of saints and +angels to meet the Saviour in the upper air. Below the dome runs a +cornice, or frieze, in eight sections, filled with figures of apostles +gazing upon the vision. Still lower are four decorated pendentives, +similar to those in the church of S. Giovanni Evangelista. These +contain respectively the four patron saints of Parma.</p> + +<p>To the spectator looking up from below, the effect is of "a moving +vision, rapturous and ecstatic." A multitude of radiant figures sweep +and whirl through the heavenly spaces. "They are upon every side, +bending, tossing, floating, and diving through the<span class='pagenum'><a name="Page_62" id="Page_62">[62]</a></span> clouds, hovering +above the abysmal void that is between the dome and the earth below +it."<a name="FNanchor_27_27" id="FNanchor_27_27"></a><a href="#Footnote_27_27" class="fnanchor">[27]</a> Wonderful indeed is the triumph of the painter's art in this +place. "Reverse the cupola and fill it with gold, and even that will +not represent its worth," said Titian.</p> + +<div class="footnotes"><p><a name="Footnote_27_27" id="Footnote_27_27"></a><a href="#FNanchor_27_27"><span class="label">[27]</span></a> E. H. Blashfield in <i>Italian Cities.</i></p></div> + +<p>Our illustration shows a portion of the octagonal cornice. The design +is a simulated balcony ornamented with tall candelabra. In front stand +the apostles grouped in twos at the corners. On the top of the +balustrade, in the spaces between the candelabra, sport a band of +genii, or heavenly spirits.</p> + +<p>The four apostles are men of giant frames with broad shoulders and +stalwart limbs. They are of middle age, heavily bearded, and all look +much alike. It would be impossible to call one Peter, and another +Paul, or to identify any particular persons. Evidently it was not the +intention of the artist to distinguish individuals. All the figures +are turned with lifted faces towards the vision in the dome. Each +expresses, by a gesture, the wonder, joy, rapture, or admiration +aroused by the spectacle. Their attitudes are somewhat extravagant and +self-conscious. The drapery, too, is rather fantastic, flung about +their figures, leaving arms and legs bare. Were the picture taken out +of its surroundings it would scarcely suggest a Christian subject. +These colossal beings are like Titans moving through the figures of a +sacred dance, and murmuring the mystic incantations of some heathen +rite.</p> + +<div class="figcenter" style="width: 600px;"><a name="pic_12" id="pic_12"></a> + <a href="images/image_063_2.jpg"><img src="images/image_063_1.jpg" width="600" height="415" alt="APOSTLES AND GENII Cathedral, Parma" title="APOSTLES AND GENII Cathedral, Parma" /></a> +<span class="caption">APOSTLES AND GENII <br /> +Cathedral, Parma</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> +<p><span class='pagenum'><a name="Page_65" id="Page_65">[65]</a></span></p> + +<p>But we must not press our interpretation too far. The panel should be +studied for its decorative quality as a part of a larger scheme. +Viewed from below, this procession of figures must be exceedingly +effective. The emphasis of lines is diagonal, flowing in the direction +of the focal point of the whole decoration.</p> + +<p>The genii of the balustrade are beings of Correggio's own creation. +His imagination called forth a world of spirits without a counterpart +in the work of any other painter. Lacking the wings usually given in +art to angels, they also lack the proper air of sanctity for heavenly +habitants. Yet they are far too ethereal for mortals. Neither angel +nor human, they are rather sprites of elf-land. With their tossing +hair and agile motions they remind us of woodland creatures, and they +look shyly out of their eyes like the furtive folk of the forest.</p> + +<p>They are sportive, but not mischievous, in the human sense. They +frolic in the pure delight of motion. By mortal standards of age they +are between childhood and youth, when limbs are long and bodies +supple. Their only draperies are narrow scarfs which they twist about +them in every conceivable way.</p> + +<p>Of the seven figures seen in our illustration, two only have any +ostensible purpose to serve. One seems to be lighting a candelabrum +with a flambeau; another carries a bowl which may be used for incense. +The others are idlers. If they have any duties as acolytes, these are +for the moment for<span class='pagenum'><a name="Page_66" id="Page_66">[66]</a></span>gotten. Several are attracted by the ceremonies in +the cathedral and look down from their high perch upon the worshipping +congregation.</p> + +<p>The sprite at the extreme right is seated, and peeps over his shoulder +with a rather dreamy expression. Next come two who are playing +together, one throwing up his left arm as if to balance himself. +Beyond the candelabrum is one whose parted hair and coquettish pose of +the head give a feminine look to the figure. The sprite in the centre +of the balustrade is the most winsome of the company. His bright eyes +have spied out some one in the congregation, and stooping, he points +directly at the person. His expression is very roguish. The little +fellow with the flambeau is at the left, and last is one whose face is +turned away towards the imaginary space behind the balcony.</p> + +<p>Our illustration gives us a general idea of Correggio's decorative +method. The human body was his material; his patterns were woven of +nude figures, posed in every possible attitude. Every figure is in +motion, and the whole multitude palpitates with the joy of living.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_67" id="Page_67">[67]</a></span></p> +<h2><a name="XII" id="XII"></a>XII</h2> + +<h3>ST. JOHN THE BAPTIST</h3> + + +<p>In one of the pendentives of the cupola in the Parma Cathedral is the +figure of St. John the Baptist reproduced in our illustration. The +background is made to resemble somewhat the interior of a shell. On +billows of clouds sits the prophet, with a lamb in his arms, and a +circle of angels playing about him.</p> + +<p>St. John the Baptist was a cousin of Jesus, and the first to recognize +the true character of the carpenter's son. While Jesus was still +living in obscurity in Nazareth, John went forth to preach in the +wilderness about the river Jordan. His manner of life was very +singular. He "had his raiment of camel's hair and a leathern girdle +about his loins; and his meat was locusts and wild honey."<a name="FNanchor_28_28" id="FNanchor_28_28"></a><a href="#Footnote_28_28" class="fnanchor">[28]</a></p> + +<div class="footnotes"><p><a name="Footnote_28_28" id="Footnote_28_28"></a><a href="#FNanchor_28_28"><span class="label">[28]</span></a> St. Matthew, chapter iii., verse 4.</p></div> + +<p>The preacher was stern in denouncing sin and in warning evil-doers of +the wrath to come. The burden of all his sermons was, "Repent, for the +kingdom of heaven is at hand." When the people asked him what they +ought to do, his answers were full of common sense. "He that hath two +coats, let him impart to him that hath none; and he that hath meat, +let him do likewise." To the tax-collectors, <span class='pagenum'><a name="Page_68" id="Page_68">[68]</a></span>he said, "Exact no more +than that which is appointed you;" to the soldiers, "Do violence to no +man, neither accuse any falsely."<a name="FNanchor_29_29" id="FNanchor_29_29"></a><a href="#Footnote_29_29" class="fnanchor">[29]</a></p> + +<div class="footnotes"><p><a name="Footnote_29_29" id="Footnote_29_29"></a><a href="#FNanchor_29_29"><span class="label">[29]</span></a> St. Luke, chapter iii.</p></div> + +<p>The authorities sent from Jerusalem to question the claims of the +strange preacher; but his reply was in the words of the old Hebrew +prophet, "I am the voice of one crying in the wilderness."<a name="FNanchor_30_30" id="FNanchor_30_30"></a><a href="#Footnote_30_30" class="fnanchor">[30]</a></p> + +<div class="footnotes"><p><a name="Footnote_30_30" id="Footnote_30_30"></a><a href="#FNanchor_30_30"><span class="label">[30]</span></a> St. John, chapter i., verse 23.</p></div> + +<p>It was the custom of John to baptize his converts in the river Jordan. +One day Jesus presented himself for baptism, and John saw in him one +whose shoe's latchet he was not worthy to unloose. At once he +proclaimed him to the people as the "Lamb of God who taketh away the +sins of the world."<a name="FNanchor_31_31" id="FNanchor_31_31"></a><a href="#Footnote_31_31" class="fnanchor">[31]</a></p> + +<div class="footnotes"><p><a name="Footnote_31_31" id="Footnote_31_31"></a><a href="#FNanchor_31_31"><span class="label">[31]</span></a> <i>Ib.</i>, verse 29.</p></div> + +<p>With the entrance of Jesus upon his ministry, John's work was +fulfilled. "He must increase, but I must decrease," said the prophet +humbly.<a name="FNanchor_32_32" id="FNanchor_32_32"></a><a href="#Footnote_32_32" class="fnanchor">[32]</a> He was soon after cast into prison by King Herod, whose +vices he had openly rebuked. Thence he was taken out only to be +executed.</p> + +<div class="footnotes"><p><a name="Footnote_32_32" id="Footnote_32_32"></a><a href="#FNanchor_32_32"><span class="label">[32]</span></a> St. John, chapter iii., verse 30.</p></div> + +<p>It must be confessed that Correggio cared very little about making a +true character study of St. John. There is not much in the figure of +our pendentive to suggest the stern and fearless prophet of the +wilderness. The humility of the countenance is perhaps the feature +most appropriate to the character. The shy, haunting expression in the +eyes is, too, such as belongs to one who, like St. John, lived much +alone in the woods. The tunic is short and sleeveless, showing the +strong limbs of the hermit. </p> + +<div class="figcenter" style="width: 500px;"><a name="pic_13" id="pic_13"></a> + <a href="images/image_069_2.jpg"><img src="images/image_069_1.jpg" width="500" height="630" alt="ST. JOHN THE BAPTIST Cathedral, Parma" title="ST. JOHN THE BAPTIST Cathedral, Parma" /></a> +<span class="caption">ST. JOHN THE BAPTIST <br /> +Cathedral, Parma</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> + +<p><span class='pagenum'><a name="Page_71" id="Page_71">[71]</a></span></p> + +<p>For the rest, the Baptist's face has the same gentle amiability we +have already seen in St. Matthew and Joseph. The type is a common one +with Correggio. A certain resemblance runs through nearly all his male +figures, whether of smooth-faced youth, bearded manhood, or hoary old +age.</p> + +<p>The tenderness of St. John for his little lamb is the chief motive of +the picture. He carries it on his left arm, supporting the weight on +his knee, and the innocent creature puts its nose close to the +prophet's face. The lamb is the accepted symbol of St. John the +Baptist, in allusion to the words with which he addressed Jesus at the +Jordan, "Behold the lamb of God." The same figure is used in the book +of Revelation, where the Lamb is described "in the midst of the +throne." Standing for the person of Christ himself, St. John holds the +sacred emblem with reverence. To understand why his face is lifted in +this direction we must remember that his glance is directed toward the +vision in the dome just above.</p> + +<p>The angel figures of this pendentive are among the most beautiful and +characteristic of the myriad throng of the cupola. The impression made +by this great spirit company upon one standing beneath the dome has +been described in some lines by Aubrey de Vere:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Creatures all eyes and brows and tresses streaming,<br /></span> +<span class="i0">By speed divine blown back; within all fire<br /></span> +<span class="i0">Of wondering zeal, and storm of bright desire.<br /></span> +<span class="i0">Round the broad dome the immortal throngs are beaming,<br /></span> +<span class="i0">With elemental powers the vault is teeming;<br /></span> +<span class="i0">We gaze, and gazing join the fervid choir,<br /></span> +<span class="i0">In spirit launched on wings that ne'er can tire."<br /></span> +<span class='pagenum'><a name="Page_72" id="Page_72">[72]</a></span></div></div> + +<p>While the spirits in the upper part of the cupola are massed so +closely together that we do not see the full beauty of each one, these +in our picture may be studied separately. There are six in all, and +their purpose is to call the attention of the worshippers to the +prophet. The two in the rear, whose bodies are hidden in the clouds, +gaze upon him adoringly. One on each side points with outstretched +finger to the lamb, as if repeating the Baptist's words, "Behold the +lamb of God." The angel astride the cloud in front was interrupted in +the same task by a little fellow suddenly shooting out from the clouds +beneath him. He peers into the opening at one side, but still lifts +his left hand towards the prophet above him.</p> + +<p>The six figures are arranged in a semicircle, and their slender limbs +and lithe bodies trace rhythmic lines of grace. The most charming of +the company is perhaps he at the right, whose eyes meet ours with a +bewitching smile.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_73" id="Page_73">[73]</a></span></p> +<h2><a name="XIII" id="XIII"></a>XIII</h2> + +<h3>CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN</h3> + +<h4>(Noli me tangere)</h4> +<p>It was Sunday, the third day after the crucifixion of Jesus. Early in +the morning, while it was yet dark, a young woman made her way to the +rock-hewn tomb in the garden of Joseph of Arimathea. It was Mary +Magdalene, whom Jesus had rescued from a life of sin. Much had been +forgiven her, therefore she loved much. In her sorrow she came to +visit the spot where the body of her crucified Master had been laid.</p> + +<p>Great was her surprise to find that the stone placed at the entrance +of the tomb had been rolled away. In her perplexity, she ran to tell +the disciples Peter and John. They all hurried back together to the +garden, and the two men, entering the tomb, found it empty. Unable to +explain the mystery, they presently returned home, leaving Mary still +standing without the sepulchre weeping.</p> + +<p>"And as she wept, she stooped down, and looked into the sepulchre, and +seeth two angels in white sitting, the one at the head, and the other +at the feet, where the body of Jesus had lain. And they<span class='pagenum'><a name="Page_74" id="Page_74">[74]</a></span> say unto her, +Woman, why weepest thou? She saith unto them, Because they have taken +away my Lord, and I know not where they have laid him.</p> + +<p>"And when she had thus said, she turned herself back, and saw Jesus +standing, and knew not that it was Jesus. Jesus saith unto her, Woman, +why weepest thou? whom seekest thou? She, supposing him to be the +gardener, saith unto him, Sir, if thou have borne him hence, tell me +where thou hast laid him, and I will take him away. Jesus saith unto +her, Mary. She turned herself, and saith unto him, Rabboni; which is +to say, Master.</p> + +<p>"Jesus saith unto her, Touch me not; for I am not yet ascended to my +Father: but go to my brethren, and say unto them, I ascend unto my +Father, and your Father; and to my God, and your God."<a name="FNanchor_33_33" id="FNanchor_33_33"></a><a href="#Footnote_33_33" class="fnanchor">[33]</a></p> + +<div class="footnotes"><p><a name="Footnote_33_33" id="Footnote_33_33"></a><a href="#FNanchor_33_33"><span class="label">[33]</span></a> Chapter xx. of the Gospel according to St. John, verses +11-17.</p></div> + +<p>Our picture illustrates the story of that first Easter morning. Jesus +has greeted Mary by name, and she has instantly recognized the Master. +Sinking on her knees, she would have impulsively stretched out her +hands to him, but he repels her with a gesture. Awe-struck, she gazes +into his face, while he explains the message she is to carry to the +disciples.</p> + +<div class="figcenter" style="width: 500px;"><a name="pic_14" id="pic_14"></a> + <a href="images/image_075_2.jpg"><img src="images/image_075_1.jpg" width="500" height="615" alt="CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI +ME TANGERE) Prado Gallery, Madrid" title="CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) Prado Gallery, Madrid" /></a> +<span class="caption">CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) <br /> +Prado Gallery, Madrid</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_075_3.jpg">Please click here for a modern color image</a></p> +<p>The risen Lord is clad in but one garment, a heavy mantle, knotted at +the waist. The upper part is slipping from his shoulders, leaving the +torso bare. The beauty of the form reminds us of a Greek statue. On +the ground beside him are some garden tools, a <span class='pagenum'><a name="Page_77" id="Page_77">[77]</a></span>hoe and a spade, and +beyond these lies a straw hat. These things explain why Mary, blinded +and confused with weeping, supposed that it was the gardener who spoke +to her.</p> + +<p>The Master's attitude and gesture emphasize the meaning of his words. +The body sways slightly to one side, as if shrinking from Mary's +touch. He still holds his right hand outstretched, as when he said +"Touch me not." And now he raises his left arm, and pointing +heavenward declares that he is about to ascend to his Father. He seems +to speak gently as to a child, and looks down into Mary's face with a +smile.</p> + +<p>The young woman is richly arrayed in a brocade dress, cut so as to +show her beautiful neck and arms. A mass of wavy golden hair falls +over her shoulders and upon her bosom. Her tapering wrists and +delicate hands indicate gentle blood, but her features are somewhat +heavy, and the face would not attract us by its beauty. The rapt +expression of devotion is what makes it interesting. The whole +attitude expresses complete self-forgetfulness.</p> + +<p>The lithe and youthful figure of Christ recalls the boy we saw in a +former picture journeying from Egypt. We can see that this is the man +into whom that child is grown. We note again the high full forehead +over which the parted hair is brushed in curves. Again, too, we see +the small mouth with the gentle smile. The figure in general features +resembles the Christ type which is illustrated in the picture of Ecce +Homo.<span class='pagenum'><a name="Page_78" id="Page_78">[78]</a></span></p> + +<p>In painting the figure of the risen Christ, the old masters were +accustomed to give prominence to the nail prints in hands and feet, +and the wound in his side. Correggio has not done this. Such signs of +suffering were inconsistent with the joyous nature of his art. The +subject of the picture is entirely a happy one, and he has kept out of +it all evidences of the crucifixion, emphasizing rather the idea of +the ascension.</p> + +<p>In some artistic points our picture resembles the Madonna della +Scodella. The pose of Christ is similar to that of Joseph, with one +arm lifted up, and the other reaching down. Thus is formed the +diagonal line which is at the basis of the composition. The right arm +of Mary carries the line on to the lower corner of the picture.</p> + +<p>The landscape setting makes a spacious background, and a large tree +behind Christ throws his figure into relief.</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_79" id="Page_79">[79]</a></span></p> +<h2><a name="XIV" id="XIV"></a>XIV</h2> + +<h3>THE MADONNA OF ST. JEROME</h3> + +<h4>(Il Giorno)</h4> +<p>It is a bright clear day, and a baby boy is having a rare frolic out +of doors, on his mother's knee. It is the little Christ-child, and his +visitors are St. Jerome and Mary Magdalene. Overhead a red cloth +drapery has been stretched from tree to tree, making a sort of canopy +to protect the company from the direct rays of the sun. St. Jerome has +brought as an offering the books which represent the scholarly toil of +many years. Mary Magdalene has her jar of ointment for the anointing +of the Saviour's feet.</p> + +<p>The mother sits on a slight elevation in the centre, her bare foot +resting on the ground. St. Jerome 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, stoops to caress a little +foot. The sturdy old father seems to have come directly from his +monastery in Bethlehem, and his lion follows him like a faithful dog. +The old legend relates that as he sat one evening at his monastery +gate, a lion approached, holding up a paw which was pierced with a +thorn. The good<span class='pagenum'><a name="Page_80" id="Page_80">[80]</a></span> father removed the thorn and dressed the wound, and +the grateful beast became thenceforth the constant companion of his +benefactor.</p> + +<p>The scroll in St. Jerome's right hand may be any one of his many +treatises or translations. The large open volume is undoubtedly his +Latin version of the Bible. One side of the book is supported on his +left hand, while the other is held by an attendant angel, who turns +the pages for the Christ-child. There is something very interesting on +the page now open, and the angel points a slender finger to a +particular passage. The child is wrought up to the highest pitch of +excitement. He stretches out his legs and arms, his whole body +stiffening in a tremor of joy. He fairly pants with eagerness for the +treasure just beyond his grasp. Though not a pretty boy, he is so full +of life that we find him very captivating.</p> + +<p>Old St. Jerome looks immensely pleased with the child's delight. The +angel playfellow is delighted with his success in amusing the baby, +and laughs sympathetically with him. The mother smiles with gentle +indulgence, and holds him firmly lest he spring from her arms. Mary +Magdalene appears almost unconscious of what is going on. Her whole +being is absorbed in loving devotion. She 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 +over her neck. In throwing out his arms, the child's left hand has +fallen on the golden head, and here it rests as if he returned the +caress. In the mean time a mischievous <span class='pagenum'><a name="Page_83" id="Page_83">[83]</a></span>urchin, who may be the boy +Baptist, holds the Magdalene's jar of ointment. He stands behind her +like a small lackey, and sniffs curiously at the contents of the pot.</p> + +<div class="figcenter" style="width: 500px;"><a name="pic_15" id="pic_15"></a> + <a href="images/image_081_2.jpg"><img src="images/image_081_1.jpg" width="500" height="717" alt="THE MADONNA OF ST. JEROME Parma Gallery" title="THE MADONNA OF ST. JEROME Parma Gallery" /></a> +<span class="caption">THE MADONNA OF ST. JEROME <br /> +Parma Gallery</span> +</div> +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_081_3.jpg">Please click here for a modern color image</a></p> + +<p>If it seems strange that St. Jerome and Mary Magdalene should be here +together, we must remember that the painters of Correggio's time did +not try to represent sacred scenes with historical accuracy. It was +customary to bring together in a picture persons who lived in +altogether different periods and countries. The meaning of such +pictures was symbolic. The Christians of all ages constitute a +communion of the saints who meet at the Christ-child's feet.</p> + +<p>The two saints here make a fine artistic contrast,—the rugged and +grizzled old man, and the lovely golden-haired maiden. The splendid +muscular strength of the one is offset against the radiant beauty of +the other. In a devotional sense also the contrast is most +appropriate. St. Jerome has served the Christ with great powers of +intellect; Mary Magdalene brings only a woman's loving heart. The one +has written great books; the other could do nothing but anoint the +Saviour's feet. Yet the two kinds of service are equally important. +St. Jerome's translations have carried the gospel over the world, and +it is written that "Wheresoever this gospel shall be preached in the +whole world, there shall also this, that this woman hath done, be told +for a memorial of her."<a name="FNanchor_34_34" id="FNanchor_34_34"></a><a href="#Footnote_34_34" class="fnanchor">[34]</a></p> + +<div class="footnotes"><p><a name="Footnote_34_34" id="Footnote_34_34"></a><a href="#FNanchor_34_34"><span class="label">[34]</span></a> St. Matthew, chapter xxvi., verse 13.</p></div> + +<p>The composition of the picture is on a diagonal <span class='pagenum'><a name="Page_84" id="Page_84">[84]</a></span>plan similar to that +which we have already noticed in his pictures.<a name="FNanchor_35_35" id="FNanchor_35_35"></a><a href="#Footnote_35_35" class="fnanchor">[35]</a> The structural line +may be traced from the top of St. Jerome's head across the shoulders +and back of Mary Magdalene. The edge of the canopy overhead emphasizes +this line by following the same general direction. The child's figure +behind the Magdalene balances the figure of the lion in the left +corner.</p> + +<div class="footnotes"><p><a name="Footnote_35_35" id="Footnote_35_35"></a><a href="#FNanchor_35_35"><span class="label">[35]</span></a> See chapters IX. and XIII.</p></div> + +<p>The landscape which lies beyond the canopy is an important and +beautiful part of the picture. Without this spacious distance in the +background the large figures filling the foreground would crowd the +composition unpleasantly. It is a relief to the eye to traverse this +stretch of sunny country.</p> + +<p>The picture makes it possible for us to understand why Correggio has +been called a painter of "light and space and motion." All three +characteristics are admirably illustrated here. In color, too, the +original painting is very fine. The Virgin wears the usual red robe +and blue mantle, the colors denoting love and constancy. St. Jerome +has a blue drapery about the hips and a crimson mantle, while the +angel's tunic and Mary Magdalene's mantle are yellow.</p> + +<p>It is the clear golden atmosphere flooding the scene which gives it +the Italian name of "Il Giorno," The Day.</p> + + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_85" id="Page_85">[85]</a></span></p> +<h2><a name="XV" id="XV"></a>XV</h2> + +<h3>CUPID SHARPENING HIS ARROWS</h3> + +<h4>(Detail of Danaë)</h4> +<p>In the imagination of the ancient Greeks all human love was inspired +by the goddess Aphrodite, Venus, aided by her son, the little archer +Cupid. It was Cupid's office to shoot the arrows of affection. Being a +mischievous fellow, he took delight in aiming his shafts at the +unsuspecting. Often his victims were so oddly chosen that it seemed as +if the marksman had shot at random. Some believed that he did his work +blindfolded.</p> + +<p>The poets describe Cupid as a beautiful winged boy carrying a bow and +a quiver of arrows, and sometimes a torch. He flew at will through the +wide universe, but he loved best the island of Cyprus, which was his +mother's first home. "His head has goodly curls," wrote Moschus,<a name="FNanchor_36_36" id="FNanchor_36_36"></a><a href="#Footnote_36_36" class="fnanchor">[36]</a> +"but impudent is the face he wears; his little hands are tiny, 'tis +true, yet they shoot far.... Small is his arrow, yet it carries even +to the sky.... He is naked indeed, so far as his body is concerned, +but his mind is shrouded. And being winged as a bird he flies upon now +one party of men and women and now another, and settles on their +inmost hearts."</p> + +<div class="footnotes"><p><a name="Footnote_36_36" id="Footnote_36_36"></a><a href="#FNanchor_36_36"><span class="label">[36]</span></a> In the first idyl, translated by J. Bank.<span class='pagenum'><a name="Page_86" id="Page_86">[86]</a></span></p></div> + +<p>The mingled pain and delight caused by a wound of love is explained by +the fact that Cupid's arrows were tipped with gall and honey. The way +in which they were fashioned is variously described by the poets. +Anacreon has it that they were made at the forge of Vulcan, the +husband of Venus, and the blacksmith of the gods. One of this poet's +odes relates how—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In the Lemnian caves of fire<br /></span> +<span class="i0">The mate of her who nursed Desire<br /></span> +<span class="i0">Moulded the glowing steel to form<br /></span> +<span class="i0">Arrows for Cupid thrilling warm;<br /></span> +<span class="i0">While Venus every barb imbues<br /></span> +<span class="i0">With droppings of her honeyed dews;<br /></span> +<span class="i0">And Love (alas the victim heart)<br /></span> +<span class="i0">Tinges with gall the burning dart."<a name="FNanchor_37_37" id="FNanchor_37_37"></a><a href="#Footnote_37_37" class="fnanchor">[37]</a><br /></span> +</div></div> + +<div class="footnotes"><p><a name="Footnote_37_37" id="Footnote_37_37"></a><a href="#FNanchor_37_37"><span class="label">[37]</span></a> In Moore's translation.</p></div> + +<p>A slightly different explanation is given by the Latin poet +Claudian:—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"In Cyprus' isle two rippling fountains fall<br /></span> +<span class="i0">And one with honey flows, and one with gall;<br /></span> +<span class="i0">In these, if we may take the tale from fame,<br /></span> +<span class="i0">The son of Venus dips his darts of flame."<br /></span> +</div></div> + +<p>However the story may run, there is but one ending. The victim of the +love-god's arrow confesses that "loving is a painful thrill," but "not +to love, more painful still."</p> + +<div class="figcenter" style="width: 600px;"><a name="pic_16" id="pic_16"></a> + <a href="images/image_087_2.jpg"><img src="images/image_087_1.jpg" width="600" height="458" alt="CUPID SHARPENING HIS ARROWS (DETAIL OF DANAË) Borghese +Gallery, Rome" title="CUPID SHARPENING HIS ARROWS (DETAIL OF DANAË) Borghese Gallery, Rome" /></a> +<span class="caption">CUPID SHARPENING HIS ARROWS (DETAIL OF DANAË) <br /> +Borghese Gallery, Rome</span> +</div> + +<p class="center f1">Please click on the image for a larger image.</p> + <p class="center f1"><a href="images/image_087_3.jpg">Please click here for a modern color image</a></p> + +<p>So bold was the little archer that the mightiest could not withstand +his arts. The war-god Mars, bringing his spear one day to Vulcan's +forge, smiled contemptuously at the light shafts of Cupid. "Try it," +said little Love, handing him one. Whereupon the foolish fellow cried +out in an agony of pain, and <span class='pagenum'><a name="Page_89" id="Page_89">[89]</a></span>begged Cupid to take the arrow back. +Apollo, the archer of the sun, was equally imprudent, and was richly +punished for his sneers. An arrow from the fatal quiver made him mad +with unrequited love for the nymph Daphne. A being who could give so +much pain and pleasure was at once to be loved and feared. Hence all +paid homage—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"To Love, for heaven and earth adore him<br /></span> +<span class="i0">And gods and mortals bow before him."<br /></span> +</div></div> + +<p>In our picture, Cupid looks just as the poets have described him, a +beautiful baby boy with wings and "goodly curls." Only the milk and +honey of Cyprus could have made the little body so plump. A deep +crease marks the line of his wrist, a soft fold of flesh the neck. The +full quiver lies on the table beside him, and he is sharpening one of +the darts.<a name="FNanchor_38_38" id="FNanchor_38_38"></a><a href="#Footnote_38_38" class="fnanchor">[38]</a> A little companion helps him hold the whetstone steady +while he presses the arrow tip upon its surface. Some lines of Horace +come to mind describing—</p> + +<div class="poem"><div class="stanza"> +<span class="i0">"Cupid sharpening all his fiery darts<br /></span> +<span class="i0">Upon a whetstone stained with blood of hearts."<br /></span> +</div></div> + +<div class="footnotes"><p><a name="Footnote_38_38" id="Footnote_38_38"></a><a href="#FNanchor_38_38"><span class="label">[38]</span></a> Vasari says that Cupid is trying the arrow on a stone.</p></div> + +<p>Cupid's companion is as like him as a twin, save that he has no wings. +He may be a human playfellow of the little god, or one of the brood of +loves with which the poets have peopled Cyprus. While the original +myth told of only one Cupid, imagination has multiplied his kind. We +read of the "playful rout of Cupids" attendant upon the love-god, who +rules as sovereign among them. <span class='pagenum'><a name="Page_90" id="Page_90">[90]</a></span></p> + +<p>The two children of the picture are intent upon their task. The very +seriousness of their manner argues some mischief in view. Evidently +they are preparing for a great conquest. The arrow must not fail of +its work, but must be sharp enough to carry the sweet poison straight +to the victim's heart.</p> + +<p>Both of the chubby fellows have rather large heads with clustering +ringlets. The wingless boy has the high, full forehead which marks an +active mind. Cupid seems to have the more energetic temperament of the +two, while his comrade is a bit of a dreamer.</p> + +<p>Our picture is a charming illustration of Correggio's love of +children. As it was not the fashion of his time to paint children's +portraits, he had to make his own opportunities for the favorite +subject. How ingenious he was we have had occasion to see in our +study. When given a sacred subject to paint he filled all the +available spaces with child angels sporting in the clouds. With the +ceiling of a room to decorate, he covered the whole surface with a +band of little boys at play.</p> + +<p>Our reproduction is a detail of a larger picture illustrating the myth +of Danaë. The two little figures are in the lower right corner of the +canvas.</p> + + + +<hr style="width: 65%;" /> + +<p><span class='pagenum'><a name="Page_91" id="Page_91">[91]</a></span></p> +<h2><a name="XVI" id="XVI"></a>XVI</h2> + +<h3>A SUPPOSED PORTRAIT OF CORREGGIO</h3> + + +<p>Almost every celebrated painter has at some time in his life sat for +his portrait. Many have painted their own likenesses, not so much from +motives of vanity, but as a matter of artistic interest. Others have +posed as models to their fellow painters.</p> + +<p>Correggio was an exception in this regard. The old biographer Vasari +made many efforts to procure a portrait, and concluded that "he never +took it himself, nor ever had it taken by others, seeing that he lived +much in retirement."</p> + +<p>Our painter, as we have seen, was not a student of the face. Form and +expression did not greatly interest him. He busied himself chiefly +with problems of light and shade. This is perhaps the reason why he +never thought it worth while to paint his portrait. He was not a +traveller, and probably never visited any of the great art centres of +his time. So he made no friends among the contemporary painters who +would have been likely to make his portrait. In any case his busy life +left little time for any work for himself, and if he thought at all of +a portrait, he doubtless postponed it to some more convenient season. +Waiting for such a time, his career was brought suddenly to an end. He +died of fever in Correggio at the age of forty.<span class='pagenum'><a name="Page_92" id="Page_92">[92]</a></span></p> + +<p>In the passing centuries one picture after another has been put +forward as a pretended portrait of Correggio. The painter's admirers +were always eager to believe that a real likeness had at last been +discovered. Though we cannot rely upon the genuineness of any of +these, some are very interesting.</p> + +<p>Such an one is our frontispiece, from a painting in the Parma Gallery, +pointed out as Correggio's portrait. Whoever the original may have +been, the expression is certainly animated and intelligent. There is +much humor and kindliness in the face. The unknown artist should have +the credit for the gift of revealing the individual character of his +sitter.</p> + +<p>Lacking an authentic portrait of the man Correggio, we have to content +ourselves with the short account of his character given by Vasari. "He +was a person," writes the biographer, "who held himself in but slight +esteem, nor could he ever persuade himself that he knew anything +satisfactorily respecting his art; perceiving its difficulties, he +could not give himself credit for approaching the perfection to which +he would so fain have seen it carried; he was a man who contented +himself with very little, and always lived in the manner of a good +Christian."</p> + + + +<hr style="width: 65%;" /> +<p><span class='pagenum'><a name="Page_93" id="Page_93">[93]</a></span></p> +<h2><a name="PRONOUNCING_VOCABULARY_OF_PROPER_NAMES_AND_FOREIGN_WORDS" id="PRONOUNCING_VOCABULARY_OF_PROPER_NAMES_AND_FOREIGN_WORDS"></a>PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS</h2> + + + + +<h3>EXPLANATION OF DIACRITICAL MARKS.</h3> +<p>A Dash (¯) above the vowel denotes the long sound, as in fāte, ēve, +tīme, nōte, ūse.</p> + +<p>A Dash and a Dot (-̇) above the vowel denote the same sound, less +prolonged.</p> + +<p>A Curve (˘) above the vowel denotes the short sound, as in ădd, ĕnd, +ĭll, ŏdd, ŭp.</p> + +<p>A Dot ( ̇) above the vowel a denotes the obscure sound of a in pȧst, +ȧbāte, Amĕricȧ.</p> + +<p>A Double Dot (¨) above the vowel a denotes the broad sound of a in +fäther, älms.</p> + +<p>A Double Dot (..) below the vowel a denotes the sound of a in ba̤ll.</p> + +<p>A Wave (~) above the vowel e denotes the sound of e in hẽr.</p> + +<p>A Circumflex Accent (^) above the vowel o denotes the sound of o in bôrn.</p> + +<p>A dot (.) below the vowel u denotes the sound of u in the French language.</p> + +<p><span class="smcap">n</span> indicates that the preceding vowel has the French nasal tone.</p> + +<p><span class="smcap">g</span> and <span class="smcap">k</span> denote the guttural sound of ch in the German language.</p> + +<p><b>th</b> denotes the sound of th in the, this.</p> + +<p>ç sounds like s.</p> + +<p>c̵ sounds like k.</p> + +<p>ṣ̱ sounds like z.</p> + +<p>ḡ is hard as in ḡet.</p> + +<p>ġ is soft as in ġem.</p> + + + +<div class="index"> +<ul class="IX"> +<li>Allegri (äl-lā'grē).</li> + +<li>Altius cæteris Dei patefecit arcana (äl'tḗ-<img src="images/d_3.jpg" alt="Diacritic" width="21" height="20" />s kī'tā̇-rḗs dā'ē pä-tā-fā'-kĭt är-kä'nä).</li> + +<li>Ambrose (ăm'brōz).</li> + +<li>Anacreon (ăn-ăk'rḗ-ŏn).</li> + +<li>Antonio (än-tō'nē-ō).</li> + +<li>Apollo (ȧ-pŏl´lō).</li> + +<li>Aphrodite (ăf-rṓ-dī'tē).</li> + +<li>Artemis (är'tē-mĭs).</li> + +<li>Arimathea (Ăr-ĭ-mȧ-thē´ȧ).</li> + +<li>Athena (ă-thē'nȧ).</li> + +<li>Augustine (a̤'gŭs-tēn).</li> + +<li>Aurora (a̤-rō'rȧ).</li> + +<li>Austin (a̤s'tĭn).</li> + +</ul><ul class="IX"> +<li>Bayliss, Wyke (wĭk bā'lĭs).</li> + +<li>Bethlehem (Bĕth'lēhĕm).</li> + +<li>Berenson (bā'rĕn-sŏn).</li> + +<li>Blashfield (blăsh'fēld).</li> + +<li>Burckhardt (b<img src="images/d_2.jpg" alt="Diacritic" width="30" height="19" />rk'härt).</li> + +</ul><ul class="IX"> +<li>Cæsar (sē'zȧr).</li> + +<li>candelabrum (kăn-dḗ-lā'brŭm).</li> + +<li>Carthage (kär'thāj).</li> + +<li>Catherine (kăth'ĕr-ĭn).</li> + +<li>Caxton (kăks'tŭn).</li> + +<li>Cavaliere (kä-vä-lē-ā'rā̇̇).</li> + +<li>chiaroscuro (kyä-rṓ-sk<img src="images/d_2.jpg" alt="Diacritic" width="30" height="19" />'rṓ).</li> + +<li>Cicerone (chē-chā-rō'nā̇̇).</li> + +<li>Claudian (cla̤'dĭ-ā̇̇n).</li> + +<li>Correggio (kŏr-rĕd'jō).</li> + +<li>Costus (kŏs'tŭs).</li> + +<li>Comus (kō'mŭs).</li> + +<li>Cupid (Cū'pĭd).</li> + +<li>Cyprus (sī'prŭs).</li> +</ul><ul class="IX"> + +<li>Dalmatian (dăl-mā'shȧn).</li> + +<li>Danaë (dā'nā̇-ē).</li> + +<li>Daphne (dăf'nē).</li> + +<li>Diana (dī-ăn'ȧ <i>or</i> dī-ā'nȧ).</li> +</ul><ul class="IX"> + +<li>Ecce Homo (ĕk'kĕ <i>or</i> ĕk'sḗ hō'mō).<span class='pagenum'><a name="Page_94" id="Page_94">[94]</a></span></li> + +<li>Egypt (ē'jĭpt).</li> + +<li>Endymion (ĕn-dĭm'ĭ-ŭn).</li> + +<li>Ephesus (ĕf'ḗ-sŭs).</li> + +<li>Ezekiel (ē-zē'kĭ-ĕl).</li> +</ul><ul class="IX"> + +<li>Galilee (găl'ĭ-lē).</li> + +<li>Giorno, Il (ēl jôr'nō).</li> + +<li>Giovanni Evangelista (jō̇-vän'nē̇ ā-vän-jā-lēs'tä).</li> + +<li>Guido Reni (gwē'dō rā'nē).</li> +</ul><ul class="IX"> + +<li>Hazlitt (Hăz'lĭtt).</li> + +<li>Heilige Nacht (hī'lḗ<span class="smcap">g</span>-ŭ nä<span class="smcap">k</span>t).</li> + +<li>Heaton (hē'tŭn).</li> + +<li>Herod (Hĕr'ŏd).</li> + +<li>Hesperus (Hĕs'pẽrŭs).</li> +<li>Hippo (Hĭp'pō).</li> + +<li>Horace (hôr'ā̇s).</li> + +</ul><ul class="IX"> +<li>Ignem gladio ne fodias (ḗg'nĕm glä'-dḗ-ō nā fō'dḗ-äs).</li> + +<li>Israel (ĭz'rā̇-ĕl).</li> +</ul><ul class="IX"> + +<li>Jameson (jā'mĕ-sŭn).</li> + +<li>Jerome (jē̇-rōm' <i>or</i> jĕr'ŏm).</li> + +<li>Jerusalem (Jĕrū'sȧlĕm).</li> + +<li>Jordan (Jôr'dȧn).</li> + +<li>Judæa (jū̇-dē̇'ȧ).</li> + +</ul><ul class="IX"> +<li>Keats (kēts).</li> + +<li>Kugler (kōōg'lẽr).</li> + +</ul><ul class="IX"> +<li>Layard (Lāy'ȧrd).</li> + +<li>Lemnian (Lĕm'nĭȧn).</li> +</ul><ul class="IX"> + +<li>Madonna (Mȧdŏn'nȧ).</li> + +<li>Magdalene (Măg'dā̇-lē̇n).</li> + +<li>Marcella (mär-sĕl'ȧ).</li> + +<li>Matthew (mă'thū).</li> + +<li>Mater Dolorosa (mā'tẽr dŏl-ṓ-rō'sȧ <i>or</i> mä'tār dō-lō-rō'sä).</li> + +<li>Maxentius (măks-ĕn'shĭ-ŭs).</li> + +<li>Mars (Märs).</li> + +<li>Meyer (mī'ẽr).</li> + +<li>Michelangelo (mē-kĕl-än'jā̇-lō).</li> + +<li>Milan (mĭl'ȧn <i>or</i> mĭ-lăn').</li> + +<li>Monica (Mŏn'ĭcȧ).</li> + +<li>Moore (mōr <i>or</i> m<img src="images/d_2.jpg" alt="Diacritic" width="30" height="19" />r).</li> + +<li>Moschus (mŏs'kŭs).</li> + +<li>Morelli (mō-rĕl'ḗ).</li> + +</ul><ul class="IX"> +<li>Nazareth (Năz'ȧrĕth).</li> + +<li>Nicodemus (nĭk-ō-dē'mŭs).</li> + +<li>Noli me tangere (nō'lḗ mā tän'gā̇-rā̇̇ <i>or</i> nō'lī mē tăn'jĕ-rḗ).</li> + +<li>Notte, La (lä nōt'tā̇).</li> + +<li>Numidia (Nūmĭd'ĭȧ).</li> + +</ul><ul class="IX"> +<li>Palestine (Păl'ĕstīne).</li> + +<li>Paolo (Pä'ōlō).</li> + +<li>Parma (Pär'mä).</li> + +<li>Patmos (Păt'mŏs).</li> + +<li>Paula (pa̤'lȧ).</li> + +<li>Pharisee (făr'ĭ-sē).</li> + +<li>Piacenza (pē-ä-chĕn'dzä).</li> + +<li>Plato (Plā'tō).</li> + +<li>Pontius Pilate (pŏn'shĭ-ŭs pĭ'lāt).</li> + +<li>putti (p<img src="images/d_2.jpg" alt="Diacritic" width="30" height="19" />t'tē).</li> +</ul><ul class="IX"> + +<li>Rabboni (Răbbō'nĭ).</li> + +<li>Raphael (rä'fā-ĕl).</li> + +<li>Rex Regum (rāks rā'g<img src="images/d_2.jpg" alt="Diacritic" width="30" height="19" />m).</li> + +<li>Ricci, Corrado (kōr-rä'dō rēt'chē).</li> + +<li>Ruskin (Rŭs'kĭn).</li> + +</ul><ul class="IX"> +<li>Sala del Pergolato (sä'lä dĕl pair-gō-lä'tō).</li> + +<li>Scipione Montino (shē-pē-ō'nā̇̇ mōn-tē'nō).</li> + +<li>Scodella (skō-dĕl'lä).</li> + +<li>Sebastian (sḗ-băst'yȧn).</li> + +<li>Simmonds (sĭm'ŭndz).</li> + +<li>Symonds (sĭm'ŭndz).</li> + +<li>Syria (sĭr'ĭ-ȧ).</li> + +</ul><ul class="IX"> +<li>Te Deum (tā dā'<img src="images/d_3.jpg" alt="Diacritic" width="21" height="20" />m <i>or</i> tē dē'ŭm).</li> + +<li>Titan (tī'tȧn).</li> + +<li>Titian (tĭsh'ȧn).</li> +</ul><ul class="IX"> + +<li>Umbrian (ŭm'brĭ-ȧn).</li> + +</ul><ul class="IX"> +<li>Vasari (vä-sä'rē̇).</li> + +<li>Venus (Vē'nŭs).</li> + +<li>Vere, Aubrey de (aa̤'brĭ dē vēr).</li> + +<li>Vulcan (Vŭl'cȧn).</li> + +<li>Vulgate (Vŭl'gāte).</li> +</ul><ul class="IX"> + +<li>Wordsworth (wẽrdz'wẽrth).</li> +</ul><ul class="IX"> + +<li>Zebedee (Zĕb'ĕdēē).</li> + +</ul></div> + +<hr style="width: 65%;" /> + + + + + + + +<pre> + + + + + +End of the Project Gutenberg EBook of Correggio, by Estelle M. 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Hurll + +This eBook is for the use of anyone anywhere at no cost and with +almost no restrictions whatsoever. You may copy it, give it away or +re-use it under the terms of the Project Gutenberg License included +with this eBook or online at www.gutenberg.org + + +Title: Correggio + A Collection Of Fifteen Pictures And A Portrait Of The + Painter With Introduction And Interpretation + +Author: Estelle M. Hurll + +Illustrator: Correggio + +Release Date: August 29, 2006 [EBook #19143] + +Language: English + +Character set encoding: ASCII + +*** START OF THIS PROJECT GUTENBERG EBOOK CORREGGIO *** + + + + +Produced by Juliet Sutherland, Sankar Viswanathan, and the +Online Distributed Proofreading Team at http://www.pgdp.net + + + + + + + + + + [Illustration: A SUPPOSED PORTRAIT OF CORREGGIO + _Parma Gallery_] + + + _Masterpieces of Art_ + + + + CORREGGIO + + A COLLECTION OF FIFTEEN PICTURES + AND A SUPPOSED PORTRAIT OF THE + PAINTER, WITH INTRODUCTION + AND INTERPRETATION + + + BY + + + ESTELLE M. HURLL + + + + + + BOSTON AND NEW YORK + HOUGHTON MIFFLIN COMPANY + The Riverside Press Cambridge + 1901 + + + COPYRIGHT, 1901, BY HOUGHTON, MIFFLIN & CO. + + * * * * * + + + + +PREFACE + + +To the general public the works of Correggio are much less familiar +than those of other Italian painters. Parma lies outside the route of +the ordinary tourist, and the treasures of its gallery and churches +are still unsuspected by many. It is hoped that this little collection +of pictures may arouse a new interest in the great Emilian. The +selections are about equally divided between the frescoes of Parma and +the easel paintings scattered through the various European galleries. + +ESTELLE M. HURLL. + +NEW BEDFORD, MASS. + +_December, 1901._ + + * * * * * + + + + +CONTENTS AND LIST OF PICTURES + + + A SUPPOSED PORTRAIT OF CORREGGIO (_Frontispiece_) + Picture from Photograph of the original painting + + INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST + +II. ON BOOKS OF REFERENCE + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE + +V. LIST OF CONTEMPORARY PAINTERS + +I. THE HOLY NIGHT (DETAIL) + Picture from Carbon Print by Braun, Clement & Co. + +II. _St. Catherine Reading_ + Picture from Photograph by Francis Ellis and W. Hayward, London + +III. THE MARRIAGE OF ST. CATHERINE + Picture from Carbon Print by Braun, Clement & Co. + +IV. CEILING DECORATION IN THE SALA DEL PERGOLATO (HALL OF THE VINE + TRELLIS) + Picture from Photograph by Fratelli Alinari + +V. DIANA + Picture from Photograph by Fratelli Alinari + +VI. ST. JOHN THE EVANGELIST + Picture from Photograph by Fratelli Alinari + +VII. ST. JOHN AND ST. AUGUSTINE + Picture from Photograph by D. Anderson + +VIII. ST. MATTHEW AND ST. JEROME + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +IX. THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) + Picture from Photograph by Fratelli Alinari + +X. ECCE HOMO + Picture from Carbon Print by Braun, Clement & Co. + +XI. APOSTLES AND GENII + Picture from Photograph by Fratelli Alinari of the painting in + water color by P. Toschi + +XII. ST. JOHN THE BAPTIST + Picture from Photograph by Fratelli Alinari of the painting + in water color by P. Toschi + +XIII. CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) + Picture from Carbon Print by Braun, Clement & Co. + +XIV. THE MADONNA OF ST. JEROME + Picture from Carbon Print by Braun, Clement & Co. + +XV. CUPID SHARPENING HIS ARROWS (DETAIL OF DANAE) + Picture from Photograph by Fratelli Alinari + +XVI. A SUPPOSED PORTRAIT OF CORREGGIO + + PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + + * * * * * + + + + +INTRODUCTION + +I. ON CORREGGIO'S CHARACTER AS AN ARTIST. + + +The art of Correggio was very justly summed up by his first +biographer, Vasari. After pointing out that in the matter of drawing +and composition the artist would scarcely have won a reputation, the +writer goes on to say: "To Correggio belongs the great praise of +having attained the highest point of perfection in coloring, whether +his works were executed in oil or in fresco." In another place he +writes, "No artist has handled the colors more effectually than +himself, nor has any painted with a more charming manner or given a +more perfect relief to his figures." Color and chiaroscuro were +undoubtedly, as Vasari indicates, the two features of his art in which +Correggio achieved his highest triumphs, and if some others had +equalled or even surpassed him in the first point, none before him had +ever solved so completely the problems of light and shadow. + +Not only did he understand how to throw the separate figures of the +picture into relief, giving them actual bodily existence, but he +mastered as well the disposition of light and shade in the whole +composition. To quote Burckhardt, "In Correggio first, chiaroscuro +becomes essential to the general expression of a pictorially combined +whole; the stream of lights and reflections gives exactly the right +expression to the special moment in nature." + +The quality of Correggio's artistic temperament was essentially +joyous.[1] The beings of his creation delight in life and movement; +their faces are wreathed with perpetual smiles. Hence childhood and +youth were the painter's favorite subjects. The subtleties of +character study did not interest him; and for this reason he failed in +representing old age. He was perhaps at his best among that race of +sprites which his own imagination invented, creatures without a sense +of responsibility, glad merely to be alive. + +[Footnote 1: Tradition says that the temperament of the man himself +was exactly the reverse of that of the artist, being timid and +melancholy.] + +This temperament explains why the artist contented himself with so +little variety in his types. We need not wonder at the monotony of the +Madonna's face. She is happy, and this is all the painter required of +her psychically. He took no thought even to make her beautiful: the +tribute he offered her was the technical excellence of his art,--the +exquisite color with which he painted flesh and drapery, the +modulations of light playing over cheek and neck. With hair and hands +he took especial pains, and these features often redeem otherwise +unattractive figures. + +In his predilection for happy subjects Correggio reminds us of +Raphael. The two men shrank equally from the painful. But where the +Umbrian's ideal of happiness was tranquil and serene, Correggio's was +exuberant and ecstatic. Raphael indeed was almost Greek in his sense +of repose, while Correggio had a passion for motion. "He divines, +knows and paints the finest movements of nervous life," says +Burckhardt. + +Even when he sought to portray a figure in stable equilibrium, he +unwittingly gave it a wavering pose; witness the insecurity of Joseph +in the Madonna della Scodella, and of St. Jerome in the Madonna +bearing his name. Usually he preferred some momentary attitude caught +in the midst of action. In this characteristic the painter was allied +to Michelangelo, the keynote of whose art is action. + +It is a curious fact that two artists of such opposed natures--the one +so light-hearted, the other burdened with the prophet's spirit--should +have so much in common in their decorative methods. Both understood +the decorative value of the nude, and found their supreme delight in +bodily motion. In a common zeal for exploiting the manifold +possibilities of the human figure, the two fell into similar errors of +exaggeration. In point of design Correggio cannot be compared with +Michelangelo. He was utterly incapable of the sweeping lines +characteristic of the great Florentine. He seldom achieved any success +in the flow of drapery, and often his disposition of folds is very +clumsy. + +It is interesting to fancy what Correggio's art might have been had he +been free to choose his own subjects. Limited, as he was, in his most +important commissions, to the well-worn cycle of ecclesiastical +themes, he could not work out all the possibilities of his genius. +Nevertheless, he infused into the old themes an altogether new spirit, +the spirit of his own individuality. It is a spirit which we call +distinctly modern, yet it is as old as paganism. + +Among the works of the old Italian masters, Correggio's art is so +anomalous that it has inevitably called forth detractors. What to his +admirers is mere childlike sweetness is condemned as "sentimentality," +innocent playfulness as "frivolity," exuberance of vitality as +"sensuality." Certainly there is nothing didactic in his art. "Space +and light and motion were what Antonio Allegri of Correggio most +longed to express,"[2] and to these aims he subordinated all motives +of spiritual significance. One of his severest critics (Burckhardt) +has conceded that "he is the first to represent entirely and +completely the reality of genuine nature." He, then, who is a lover of +genuine nature in her most subtle beauties of "space and light and +motion," cannot fail to delight in Correggio. + +[Footnote 2: E. H. Blashfield in Italian Cities.] + + +II. ON BOOKS OF REFERENCE. + +The first biographer of Correggio was Vasari, in whose "Lives of the +Painters, Sculptors, and Architects" is included a brief account of +this painter. The student should read this work in the last edition +annotated by E. H. and E. W. Blashfield and A. A. Hopkins. Passing +over the studies of the intervening critics, Julius Meyer's biography +may be mentioned next, as an authoritative work, practically alone in +the field for some twenty-five years. This was translated from the +German by M. C. Heaton, and published in London in 1876. Finally, the +recent biography by Signor Corrado Ricci (translated from the Italian +by Florence Simmonds, and published in 1896) may be considered almost +definitive. It is issued in a single large volume, profusely +illustrated. The author is the director of the galleries of Parma, and +has had every opportunity for the study of Correggio's works and the +examination of documents bearing upon his life. + +General handbooks of Italian art giving sketches of Correggio's life +and work are Kugler's "Handbook of the Italian Schools," revised by A. +H. Layard, and Mrs. Jameson's "Early Italian Painters," revised by +Estelle M. Hurll. + +For a critical estimate of the art of Correggio a chapter in +Burckhardt's "Cicerone" is interesting reading, but the book is out of +print and available only in large libraries. In "Italian Cities," by +E. H. and E. W. Blashfield, a delightful chapter on Parma describes +Correggio's works and analyzes his art methods. Morelli's "Italian +Painters" contains in various places some exceedingly important +contributions to the criticism of Correggio's works. The author's +repudiation of the authenticity of the Reading Magdalen of the Dresden +Gallery has been accepted by all subsequent writers. + +Comments on Correggio are found in Symonds's volume on "The Fine Arts" +in the series "The Renaissance in Italy," and are also scattered +through the pages of Ruskin's "Modern Painters" and Hazlitt's "Essays +on the Fine Arts." The volume on Correggio in the series "Great +Masters in Painting and Sculpture" is valuable chiefly for a complete +list of Correggio's works. The text is based on Ricci.[3] + +[Footnote 3: As this book goes to press Bernard Berenson's "The Study +and Criticism of Italian Art" makes its appearance. A portion of it is +devoted to the study of Correggio.] + + +III. HISTORICAL DIRECTORY OF THE PICTURES OF THIS COLLECTION. + +_Portrait frontispiece._ From a photograph of an alleged portrait of +Correggio in the Parma Gallery. + +1. _The Holy Night._(_La Notte._) (Detail.) Painted at the order of +Alberto Pratoneri for the altar of his chapel in the church of S. +Prospero, Reggio. Agreement signed October 10, 1522. Stolen from the +church May, 1640, and taken to Modena. Now in the Dresden Gallery. +Size of whole picture: 8 ft. 5 in. by 6 ft. 2 in. + +2. _St. Catherine Reading._ Conjectural date, 1526-1528. In Hampton +Court Gallery. Size: 2 ft. 1 in. by 1 ft. 8 in. + +3. _The Marriage of St. Catherine._ Date, according to Meyer, +1517-1519; according to Ricci, after 1522. Painted for the Grillenzoni +family of Modena. After several transfers it came into the possession +of Cardinal Mazarin, from whose heirs it was acquired for Louis XIV.'s +collection and hence became a permanent possession of the Louvre +Gallery, Paris. Size: 3 ft. 5-1/3 in. by 3 ft. 4 in. + +4 and 5. _Ceiling Decoration_, and _Diana_, in the Sala del Pergolata, +Convent of S. Paolo, Parma. Frescoes painted in 1518. + +6, 7, and 8. _St. John the Evangelist_, _St. John and St. Augustine_, +_St. Mark and St. Jerome_. Frescoes in the church of S. Giovanni +Evangelista, Parma. Painted 1520-1525. + +9. _The Rest on the Return from Egypt._ (_La Madonna della Scodella._) +According to Pungileoni painted 1527-1528; according to Ricci, +1529-1530. The frame containing the picture is supposed to have been +designed by Correggio himself. It bears the date 1530, when the +picture was placed in the church of S. Sepolcro, Parma. Taken as +French booty in 1796, but returned to Parma in 1816. Now in the Parma +Gallery. Size: 7 ft. 3 in. by 4 ft. 6 in. + +10. _Ecce Homo._ According to Ricci, painted during a visit to +Correggio, 1521-1522; probably first belonged to the Counts Prati, of +Parma. In the seventeenth century there were three pictures of the +subject in Italy claiming to be the original. This picture was +formerly in the Colonna family; now in the National Gallery, London. +Size: 3 ft. 2-1/2 in. by 2 ft. 7-1/2 in. + +11 and 12. _Apostles and Genii_, and _St. John the Baptist_. Frescoes +in the Cathedral of Parma. Painted 1524-1530. + +13. _Christ appearing to Mary Magdalene in the Garden._ (_Noli me +tangere._) Assigned by Ricci to 1524-1526. Described by Vasari as the +property of the Ercolani family of Bologna. Passing from one owner to +another, it was finally presented to Philip IV. of Spain, and is now +in the Prado Gallery, Madrid. Size: 1 ft. 3-1/3 in. by 1 ft. 6-1/2 +in. + +14. _The Madonna of St. Jerome._ (_Il Giorno._) Ordered in 1523 by +Donna Briseide Colla, for the church of S. Antonio, Parma. Painted +1527-1528, according to Ricci. After the destruction of this church it +was placed in the Cathedral for safety. Seized by Napoleon in 1796. +Finally returned to Parma, and now in the Parma Gallery. Size: 4 ft. 8 +in. by 6 ft. 10 in. + +15. _Cupid sharpening his Arrow._ (Detail of _Danae_.) Ordered +(1530-1533) by Federigo II., Duke of Mantua, as a gift for the Emperor +Charles V. After passing through many hands it came in 1823 into the +possession of the Borghese family, and is now in the Borghese Gallery, +Rome. Size of whole picture, 5 ft. 4 in. by 6 ft. 5 in. + + +IV. OUTLINE TABLE OF THE PRINCIPAL EVENTS IN CORREGGIO'S LIFE. + +_Compiled from Ricci's_ Correggio, _to which the references to pages +apply_. + +1494. Antonio Allegri born at Correggio. + +1511-1513. Probably in Mantua (p. 69). + +1515. Madonna of St. Francis (p. 94). + +1518. In Parma executing the frescoes of San Paolo, April-December (p. +152). + +1520. Invitation to Parma from the Benedictines (p. 153). Marriage +with Girolama Merlini (p. 185). + +1520-1525. At work on frescoes of S. Giovanni Evangelista, Parma, with +interruptions as noted below (pp. 189-195). + +July, 1521-Spring, 1522. In Correggio (pp. 194, 195), and probable +execution of the Ecce Homo, Christ in Garden, and Noli me tangere (p. +226). + +1521. Birth of son Pomponio, September 3 (p. 185). + +1522. Visit to Reggio and commission for the Nativity (La Notte) +October (pp. 195, 294). Commission for frescoes of Parma Cathedral, +November (p. 250). + +1523. Visit in Correggio (p. 195). Order for Madonna of St. Jerome (p. +278). + +1524. Last payment for frescoes of S. Giovanni (p. 190). Birth of +daughter Francesca Letizia, December 6 (p. 185). + +1524-1530. Work on frescoes of the Parma Cathedral, interrupted by +visits to Correggio, as noted below (p. 273). + +1525. Visits to Correggio in February and August (p. 274). Madonna of +St. Sebastian painted for Confraternity of St. Sebastian at Modena (p. +275). + +1526. Birth of daughter Caterina Lucrezia (p. 185). + +1527. Visits in Correggio (p. 274). + +Circa 1528. Birth of daughter Anna Geria (p. 185). + +1528. Visit in Correggio in summer (p. 274). + +1529. Death of wife (p. 185). + +1530-1534. In Correggio (p. 307). Mythological pictures for Federigo +Gonzaga (p. 311). + +1534. Death of Allegri, March 5 (p. 326). + + +V. LIST OF CONTEMPORARY ITALIAN PAINTERS. + +Vincenzo Catena, Venetian, 1470-1532. +Michelangelo, Florentine, 1475-1564. +Lorenzo Lotto, Venetian, circa 1476-1555. +Bazzi (Il Sodoma), Sienese, 1477-1549. +Giorgione, Venetian, 1477-1510. +Titian, Venetian, 1477-1576. +Palma Vecchio, Venetian, 1480-1528. +Lotto, Venetian, 1480-1558. +Raphael, Umbrian, 1483-1520. +Pordenone, Venetian, 1484-1539. +Bagnacavallo, Bolognese, 1484-1542. +Gaudenzio Ferrari, Milanese, 1484-1549. +Sebastian del Piombo, Venetian, 1485-1547. +Andrea del Sarto, Florentine, 1486-1531. +Bonifazio Veneziano, Venetian, circa 1490-1540. +Cima da Conegliano, Venetian, 1493-1517. +Pontormo, Florentine, 1493-1558. +Moretto, Brescian, 1500-1547. +Bronzino, Florentine, 1502-1572. +Basaiti, Venetian, first record, 1503-last record, 1520. + + + + +I + +THE HOLY NIGHT (LA NOTTE) (Detail) + + +In the northern part of Italy is the little town of Correggio, which +gave its name to the painter whose works we are to study. His real +name was Antonio Allegri, but in the sixteenth century a man would +often be called by a nickname referring to some peculiarity, or to his +birthplace. When Allegri went to Parma he was known as Antonio da +Correggio, that is, Antonio from Correggio, and the name was then +shortened to Correggio. + +A large part of Correggio's work was mural decoration, painted on the +surface of the plastered wall. Besides such frescoes he painted many +separate pictures, mostly of sacred subjects to be hung over the +altars of churches. The choice of subjects was much more limited in +his day than now, and, with the exception of a few mythological +paintings, all Correggio's themes were religious. The subject most +often called for was that of the Madonna and Child. Madonna is the +word, meaning literally My Lady, used by the Italians when speaking of +Mary, the mother of Jesus. The Madonna and Child is then a picture of +the mother Mary holding the Christ-child. + +Our illustration is from such a picture called "La Notte," the Italian +for The Night. The night meant by the title is that on which Jesus was +born in Bethlehem of Judaea. It was at a time known in history as the +Augustan Age, when Rome was the great world-power. Judaea was only an +obscure province of the vast Roman Empire, but here was the origin of +the influence which was to shape later history. The coming of Jesus +brought a new force into the world. + +The story of his infancy has been made familiar by the four +Evangelists. He was born in surroundings which, in Roman eyes, were +fit only for slaves. Mary and Joseph had come up from their own home +to Bethlehem to pay the taxes exacted at Rome. The town was full of +people on the same errand, and "there was no room for them in the +inn." So it came about that the new-born babe was wrapped in swaddling +clothes and laid in a manger used for feeding cattle. + +While he lay in this strange cradle his birth was made known by a +vision of angels to some shepherds on the neighboring hillsides. At +once they betook themselves joyfully to Bethlehem, the first to do +honor to the new-born king. These homely visitors are gathered about +the manger in Correggio's picture. The dark night is without, but a +dazzling white light shines from the Holy Child. + +[Illustration: THE HOLY NIGHT (DETAIL) +_Dresden Gallery_] + +Our illustration shows only the centre of the picture, where the +mother leans over her babe. The little form lies on a bundle of hay, +completely encircled by her arms. The bend of her elbow makes a +soft pillow for his head; her hands hold him fast in the snug nest. +With brooding tenderness she regards the sleeping child. + +A white cloth is wrapped loosely about the baby's body--the swaddling +band, which, when tightly drawn, is to hold the figure straight. The +fingers of one hand peep out from the folds, and one little foot is +free. For the rest we see only the downy top of the baby's head and +one plump shoulder. The little figure glows lite an incandescent body, +and the mother's face is lighted as if she were bending over a fire. +It is a girlish face, for we are told that Mary was a very young +mother. The cares of life have not yet touched the smooth brow. In her +happiness she smiles fondly upon her new treasure. + +We have no authentic description of Mary, the mother of Jesus, but it +is pleasant to try to picture her in imagination. As her character was +a model of womanliness, it is natural to believe her face +correspondingly beautiful. The old masters spent their lives in +seeking an ideal worthy of the subject, and each one conceived her +according to his own standards of beauty. Correggio's chief care was +for the hair and hands, which he painted, as we see here, with +exquisite skill. He was usually less interested in the other features, +and the Madonna of our picture is exceptionally lovely among his works +of this kind. + +The picture of La Notte illustrates very strikingly an artistic +quality for which Correggio is famous. This is _chiaroscuro_, or the +art of light and shadow,--the art by which the objects and figures of +a picture are made to seem enveloped in light and air, as in the +actual world. The contrast between the bright light in the centre and +the surrounding darkness gives vivid reality to the figures. There is +also a symbolic meaning in the lighting of the picture. Christ is "the +light of the world;" hence his form is the source of illumination. + +Our picture was originally called by the simple title of The Nativity. +Then the Italians, struck by the power with which the effect of +midnight was produced, called it "La Notte," The Night. When it came +to a German gallery the Germans called it "Die Heilige Nacht," The +Holy Night. An old German Christmas carol interprets it so perfectly +that it seems as if the author must have known the picture. These are +the verses:-- + + "Silent night! Holy Night! + All is calm, all is bright + Round you, virgin mother and child; + Holy infant, so tender and mild, + Sleep in heavenly peace, + Sleep in heavenly peace. + + "Silent Night! Holy Night! + Shepherds quake at the sight. + Glories stream from Heaven afar, + Heavenly hosts sing alleluia. + Christ the Saviour is born! + Christ the Saviour is born! + + "Silent Night! Holy Night! + Son of God, love's pure light + Radiant beams from Thy holy face + With the dawn of redeeming grace, + Jesus, Lord, at thy birth, + Jesus, Lord, at thy birth." + + + + +II + +ST. CATHERINE READING + + +The story of St. Catherine is very quaintly told in the old legend.[4] +She was the daughter of "a noble and prudent king," named Costus, "who +reigned in Cyprus at the beginning of the third century," and "had to +his wife a queen like to himself in virtuous governance." Though good +people according to their light, they were pagans and worshippers of +idols. + +[Footnote 4: The life of St. Catherine is related in the _Golden +Legend._ See Caxton's translation in the _Temple Classics_, volume +vii., page 1. Mrs. Jameson also gives an outline of the story in +_Sacred and Legendary Art_, p. 459.] + +Even in her babyhood the child Catherine was "so fair of visage" that +all the people rejoiced at her beauty. At seven years of age she was +sent to school, where "she drank plenteously of the well of wisdom." +Her father was so delighted with her precocity that he had built a +tower containing divers chambers where she might pursue her studies. +Seven masters were engaged to teach her, the best and "wisest in +conning" that could be found. So rapid was their pupil's progress that +she soon outstripped them in knowledge, and from being her masters +they became her disciples. + +When the princess was fourteen, her father died, leaving her heir to +his kingdom. A parliament was convened, and the young queen was +crowned with great solemnity. Then arose a committee of lords and +commons, petitioning her to allow them to seek some noble knight or +prince to marry her and defend the kingdom. Now Catherine had secretly +resolved not to marry, but she answered with a wisdom not learned +altogether from books. She agreed to marry if they would bring her a +bridegroom possessing certain qualifications which she knew were +impossible to fulfil. This silenced the counsellors, and she continued +to reign alone. + +In the course of time Queen Catherine became a Christian and devoted +herself to works of religion and charity. Under her teaching many of +her people were converted to the faith. It was a happy kingdom until +the Emperor Maxentius chanced to visit the royal city. He was a tyrant +who persecuted Christians. Upon his arrival he ordered public +sacrifices to idols, and all who would not join in the heathen +ceremony were slain. Then Catherine went boldly to meet the emperor +and set forth to him the errors of paganism. Though confounded by her +eloquence he was not to be convinced by the words of a mere woman. +Accordingly he summoned from divers provinces fifty masters "which +surmounted all mortal men in worldly wisdom." They were to hold a +discussion with the queen and put her to confusion. For all their +arguments, however, Catherine had an answer. So complete was her +victory that the entire company declared themselves Christians. The +angry emperor caused them all to be burned and cast Catherine into +prison. + +[Illustration: ST. CATHERINE READING +_Hampton Court Gallery, London_] + +Even here she continued her good works, converting the empress and a +prince who came to visit her. A new torment was then devised for her. +Iron wheels were made, bound with sharp razors, and she was placed +between these while they were turned in opposite directions. "And anon +as this blessed virgin was set in this torment, the angel of the Lord +brake the wheels by so great force that it slew four thousand +paynims." Maxentius then commanded that she should be beheaded, and +St. Catherine went cheerfully to her death. + +Other virgin martyrs may have been as good and as beautiful as St. +Catherine, but none were so wise. We know her in our picture by the +book she holds. Eager to acquire all the treasures of knowledge, she +fixes her eyes on the page, absorbed in her occupation. Already she +has read more than half the thick volume, smiling with quiet enjoyment +as she reads. There is little in the face to suggest the scholar or +the bookworm. Were this a modern picture, we should fancy it a young +lady reading her favorite poet. As it is, however, we must believe +that the book is some work by Plato or another of the ancient writers +whom St. Catherine could quote so readily. We need not wonder that she +does not knit her brow over any difficult passages. What might be hard +for another to grasp is perfectly clear to her understanding. + +The beautiful hair coiled over her head is the only coronet the +princess wears. There is no sign of her royalty, and we may infer that +the picture represents her in those early days of girlhood before the +cares of government were laid on the young shoulders. As we study the +position of the figure we see that the left arm rests on the rim of a +wheel, making a support for the hand holding the book. The wheel is +the emblem most frequently associated with St. Catherine, as the +reminder of the tortures inflicted by Maxentius. The palm branch +caught in the fingers of the left hand is the symbol used alike for +all the martyrs. The reference is to that passage in the book of +Revelation which describes the saints standing before the throne "with +palms in their hands."[5] + +[Footnote 5: Revelation vii. 9.] + +It is pleasant to believe that Correggio took unusual pains with this +picture of St. Catherine. The story of the lovely young princess seems +to have appealed to his imagination, and he has conceived an ideal +figure for her character. The exquisite oval of the face, the delicate +features, and the beautiful hair make this one of the most attractive +faces in his works. + +The light falls over the right shoulder, casting one side of the face +in shadow. The modulations of light on the chin and neck, and the +gradation in the shadow cast by the book on the hand, show Correggio's +mastery of chiaroscuro. + + + + +III + +THE MARRIAGE OF ST. CATHERINE + + +At the time of her coronation, St. Catherine knew nothing of the +Christian faith, but she had set for herself an ideal of life she was +determined to carry out. It was her firm resolve not to marry. Her +counsellors argued that, as she was endowed with certain qualities +above all creatures, she ought to marry and transmit these gifts to +posterity. The attributes they enumerated were, first, that she came +of the most noble blood in the world; second, that she was the richest +living heiress; third, that she was the wisest, and, fourth, the most +beautiful of all human beings. + +The young queen replied that she would marry only one who possessed +corresponding qualities. "He must be," she said, "so noble that all +men shall do him worship," so rich that "he pass all others in +riches," so full of beauty "that angels have joy to behold him;" and +finally, he must be absolutely pure in character, "so meek that he can +gladly forgive all offences." "If ye can find such an one," she +declared, "I will be his wife with all mine heart, if he will +vouchsafe to have me." + +Of course all agreed that there never was and never would be a man +such as she described, and the matter was at an end. To Catherine, +however, there came a strange conviction that her ideal was not an +impossible one. All her mind and heart were filled with the image of +the perfect husband she had conceived. She continually mused how she +might find him. + +While she thought on these things, an old hermit came to her one day +saying that he had had a vision, and had been sent with the message +that her chosen bridegroom awaited her. Catherine at once arose and +followed the hermit into the desert. Here it was revealed to her that +the perfect man she had dreamed of was Jesus, the Christ, and to this +heavenly bridegroom she was united in mystic marriage. Returning to +her palace she wore a marriage ring, as the perpetual token of this +spiritual union. + +The story explains the subject of our picture. The Christ-child, +seated on his mother's knee, is about to place a ring on St. +Catherine's finger, while St. Sebastian looks on as a wedding guest. +The infant bridegroom performs his part with delight. He holds the +precious circlet between the thumb and forefinger of his right hand, +and with his left singles out St. Catherine's ring finger. The bride's +hand rests on the mother's open palm, held beneath as a support. + +[Illustration: THE MARRIAGE OF ST. CATHERINE +_The Louvre, Paris_] + +All are watching the child's motions intently; the mother with quiet +pleasure, St. Sebastian with boyish curiosity, and St. Catherine +herself with sweet seriousness. Any comparison of the scene with a +human marriage is set aside by the fact that the bridegroom is an +infant. The ceremony is of purely spiritual significance, a true +sacrament. St. Catherine's expression and manner are full of humility, +as in a religious service. + +The Christ-child is a robust little fellow whose chief beauty is his +curls. He has the large head which usually shows an active +temperament, and we fancy that he is somewhat masterful in his ways. +We shall see the same boy again in the picture called The Madonna of +St. Jerome. + +The mother, too, has a face which soon becomes familiar to the student +of Correggio's works. The eyes are full, the nose is rather prominent, +the mouth large and smiling, and the chin small. Even St. Catherine is +of the same type, except that her face is cast in a smaller and more +delicate mould. Her hair is arranged precisely like that of the +Madonna, the braids bound about the head, preserving the pretty round +contour. Both women wear dresses cut with round low necks, showing +their full throats. St. Catherine's left hand rests upon a wheel with +spiked rim, which, as we have seen, is her usual emblem. Another +emblem is the sword, whose hilt projects from behind the wheel. This +was the instrument of her execution. + +Special prominence is given in the picture to three sets of hands. The +skill with which they are painted is noted by critics as one of the +many artistic merits of the work. One of Browning's poems[6] describes +an artist's meditations while trying to draw a hand. His failure +teaches him to realize that he must study the + + "Flesh and bone and nerve that make + The poorest coarsest human hand + An object worthy to be scanned + A whole life long for their sole sake." + +Such must have been Correggio's study to enable him to produce the +beautiful hands we see here. + +[Footnote 6: _Beside the Drawing Board._] + +St. Sebastian is a figure not to be overlooked. We may find his like +among the genii of the Parma Cathedral, which we are to study. He is a +joyous being to whom it is good merely to be alive. The elfin locks +falling about his face make him look like some creature of the woods. +We are reminded most of the faun of the Greek mythology. The arrows in +his hand suggest some sylvan sport, but in reality they are the emblem +of his martyrdom. According to tradition the young saint was bound by +his enemies to a tree, and shot with arrows. + +Behind the group stretches a bit of open country, and if we look +closely we can discern here two groups of small figures. One +represents the martyrdom of St. Sebastian, and the other, the +execution of St. Catherine. We may suppose that such gruesome subjects +were not the choice of the painter. It is probable that they were +dictated by his patrons, and in obeying orders he made the figures as +inconspicuous as possible. + + + + +IV + +CEILING DECORATION IN THE SALA DEL PERGOLATO + +(HALL OF THE VINE TRELLIS) + +(S. Paolo, Parma) + + +In the time of Correggio the convent of S. Paolo (St. Paul) in Parma +was in charge of the abbess Giovanna da Piacenza, who had succeeded an +aunt in this office in 1507. She was a woman of liberal opinions, who +did not let the duties of her position entirely absorb her. She still +retained some social connections and was a patroness of art and +culture. The daughter of a nobleman, she was a person of consequence, +whose private apartments were such as a princess might have. Already a +well known painter of the day had decorated one of her rooms when she +heard of the rising artist Correggio. Probably advised by her relative +the Cavaliere Scipione Montino, she commissioned the young painter to +fresco a second room. + +The decorative scheme he designed is very beautiful and elaborate. The +square ceiling is completely covered with a simulated trellis, +embowered in foliage and flowers, and pierced by oval windows through +which children are seen at play. A circle in the centre contains the +family arms of the abbess, a shield on which three crescent moons are +set diagonally. From this centre, as from the hub of a wheel, a +series of gilded ribs radiate towards the sides, cutting the whole +space into triangular sections whose surfaces are slightly hollowed. +The oval windows of the trellis open in these sections, one in each +triangle, and sixteen in all. Above every window hangs a bunch of +fruit, seemingly suspended from 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 sixteen lunettes +or semicircles running around the square, one in each section. The +frieze around the side walls simulates a narrow scarf caught up in +festoons between ornamented capitals formed of rams' heads. The +remaining decoration of the room is on the cap of the chimney, and +represents the goddess Diana setting forth for the chase. + +This picture furnishes the subject of the children's games in the +lattice bower. The little sprites are attendants of the goddess, +playing in a mimic hunt. Two or three may be seen through every +window, busy and happy in their innocent sport. One is the delighted +possessor of a quiver of arrows, from which he draws a shaft. Others +play with the hounds, pulling them hither and thither at their will. A +group of five find the hunting-horn an amusing plaything, and +good-humoredly strive together over the treasure. + +[Illustration: CEILING DECORATION IN THE SALA DEL PERGOLATO +_Convent of S. Paolo, Parma_] + +Our illustration shows a quarter section of the ceiling, from which we +can in imagination reconstruct the whole diagram.[7] Let us see +what the children are doing in this corner of the lattice. At the +window directly in front of us a little fellow proudly exhibits a +stag's head as a trophy of the chase. Just behind his shoulder a merry +companion, peeps out, and lower down, on the other side, appears the +head of an animal like a doe. In the next window is a boy with a +wreath of flowers with which he and a companion apparently mean to +crown the head of the stag. The third boy of the group has for the +moment lost interest in the play, his attention being attracted by +something going on outside. Now comes a boy passing by the next +window, who hastens to join the party we have just seen. His +playfellow wants to go the other way, and tries to detain him. "Come," +he says, seizing him by the arm, "there's no fun over there. See what +I have found." + +[Footnote 7: A quarter section, mathematically exact, is of course, +square in shape. In our illustration the lower part of two lunettes is +cut off.] + +We are somewhat at a loss to know just what mischief the baby in the +next window has been plotting. He grasps with both hands a tall staff, +which may be a hunting-spear, or perhaps a pole with which he hopes to +reach the fruit. In some way he has managed to get both feet through +the window, and is now in a precarious position, half in and half out. +His companion tries to draw him in; but whether he is alarmed at the +danger, or is himself eager to get the pole, we cannot tell. + +The lunettes of the ceiling are painted in gray, framed in borders of +sea-shells. They are made to simulate niches containing sculptured +figures with some allegorical or mythological meaning. In our +illustration we see first the figure of Chastity, holding in her right +hand the dove, which is the emblem of innocence. The dress is the +long, plain tunic seen in Greek sculpture, and the thin stuff of which +it is made flows in graceful lines about the form. We are reminded of +Milton's lines in "Comus:"-- + + "So dear to Heav'n is saintly Chastity, + That when a soul is found sincerely so, + A thousand liveried angels lacky her, + Driving far off each thing of sin and guilt, + And in clear dream and solemn vision, + Tell her of things that no gross ear can hear." + +The next figure is similar in character and meaning. It is Virginity, +holding in her right hand the lily, which is the symbol of purity. The +other two figures, of which we see only the upper portion, are +Fortune, with a cornucopia, and the helmeted Athena, with spear and +torch. + +At the death of the abbess Giovanna in 1574, the convent of S. Paolo +entered upon a period of severe ecclesiastical discipline. For more +than two centuries it was impossible for outsiders to gain admittance, +and the "Sala del Pergolato" was a sealed treasure. Finally, in 1794, +the Academy of Parma gained permission to examine Correggio's +paintings. After the suppression of the convent the room was thrown +open to the public, and the building is now used for a school. + + + + +V + +DIANA + + +In classic mythology, Diana, the Greek Artemis, was the goddess of the +moon, twin sister of the sun-god Apollo. As the rays of moonlight seem +to pierce the air like arrows, Diana, like Apollo, was said to carry a +quiver of darts; the slender arc of the crescent moon was her bow. +Thence it was natural to consider her fond of hunting, and she became +the special patroness of the chase and other sylvan sports. Her +favorite haunts were groves and lakes, and she blessed the increase of +field and meadow. She was mistress of the brute creation, and showed +special favor to the bear, the boar, the dog, the goat, and the hind. +The poet Wordsworth has described how the ancient huntsman regarded +the goddess:-- + + "The nightly hunter lifting up his eyes + Towards the crescent moon, with grateful heart + Called on the lovely wanderer who bestowed + That timely light to share his joyous sport; + And hence a beaming goddess with her nymphs + Across the lawn and through the darksome grove + (Not unaccompanied with tuneful notes + By echo multiplied from rock or cave) + Swept in the storm of chase, as moon and stars + Glance rapidly along the clouded heaven + When winds are blowing."[8] + +[Footnote 8: In _The Excursion._] + +There were other pleasant beliefs about Diana such as might be +connected with the thought of the moon. As the moonlight cheers the +traveller on his way and enters the chamber of the sick and lonely, so +Diana was said to watch with the sick and help the unfortunate. The +pale, white light of the moon is a natural symbol of purity, hence +Diana was a maiden goddess above all allurements of love. Her worship +was conducted with splendid rites in various ancient cities. The +temple built in her honor at Ephesus was famous as one of the seven +wonders of the world. + +The ancients naturally liked to fancy the goddess very beautiful. The +Greek poet Anacreon called her "the goddess of the sun bright hair." +The English Keats, who delighted in the old Greek myths, has also +described the charms of "the haunter chaste of river sides, and woods +and heathy waste."[9] She had "pearl round ears, white neck, orbed +brow, blush tinted cheeks," and "a paradise of lips and eyes." + +[Footnote 9: In _Endymion_. See also Lowell's _Endymion_ for a +description of Diana.] + +In our picture the moon goddess is mounting her car for the nightly +course across the sky.[10] Though she seems to be but just springing +to her place, with bending knee, she is already speeding on her way. + +[Footnote 10: As Apollo drives the sun chariot across the sky by day. +Compare Guido Reni's Aurora.] + + "How tremulous-dazzlingly the wheels sweep + Around their axle." + +Her quiver, well filled with the bow and arrows, hangs at her back, +held by the strap bound over her breast.[11] The crescent moon gleams +above her brow. The vehicle is the small two-wheeled chariot used +among the Romans, scarcely larger than a chair. Only the hind legs of +the steeds may be seen, but we fancy them to be two white does. + +[Footnote 11: It seems odd that with this full quiver the subject +should be called by some "Diana's Return from the Chase."] + +[Illustration: DIANA +_Convent of S. Paolo, Parma_] + +The huntress turns her face earthward, lifting a fluttering veil high +in her left hand. It is as if the face of the moon had been hidden +behind a cloud which the goddess suddenly draws aside and shows "her +fulgent head uncovered, dazzling the beholder's sight." It is with a +bright, cheerful countenance that she beams upon her worshippers. A +sense of courage and exhilaration is expressed in her spirited +bearing. With her right hand she points forward, as if calling us to +join in the sport. In the swiftness of her motion her unbound hair and +filmy garments blow out behind her. + +She is a country-bred maiden, with plump neck and round arms, and her +chief charm is her buoyant vitality. Her open face, with eyes set +rather far apart, is the index of her nature. Her free life in the +woods has developed a well poised womanhood. Fear is unknown to her; +pain and disease come not near her. Rejoicing in immortal youth and +strength, she speeds nightly through the sky, the messenger of light +and comfort. + +As we have seen in the preceding chapter, the picture of Diana is +painted in fresco on the chimney cap, or hood, over the great +fireplace in the Hall of the Vine Trellis. We may well believe that +the decoration went far towards furnishing the stately apartment. +Underneath runs the Latin inscription, "_Ignem gladio ne fodias_," +stir not the fire with the sword. + +It will be remembered that the arms of the abbess, for whom the room +was decorated, bore the device of the crescent moon. This fact may +have suggested to Correggio, or his patrons, the subject of the moon +goddess. Diana, as a virgin divinity, was an especially appropriate +choice for the apartment of a nun. + +The legends of Greek mythology were at that time very popular among +people of culture, having been recently brought to notice in the +revival of classic learning. In Italy they furnished themes for the +painter; in England, for the poet. The English Ben Jonson, living a +half a century later than Correggio,[12] but representing in a certain +measure the same love of classic allusion, wrote a "Hymn to Diana," +which might have been inspired by this picture. The first stanza may +be quoted for its interpretation:-- + + "Queen and huntress, chaste and fair, + Now the sun is laid to sleep, + Seated in thy silver chair, + State in wonted manner keep. + Hesperus entreats thy light, + Goddess excellently bright." + +[Footnote 12: That is, from 1573 to 1637.] + + + + +VI + +ST. JOHN THE EVANGELIST + + +It seemed understood among the twelve disciples of Jesus that John was +the one of their number especially beloved by the Master. He and his +brother, James, were the sons of the fisherman Zebedee, and all three +men earned their living in their fishing-boats on the sea of Galilee. +It was while they were busy with their nets that Jesus one day called +the two brothers to be fishers of men. "And they straightway left +their nets and followed him."[13] + +[Footnote 13: St. Matthew, chapter iv., verse 20.] + +Under the teachings of Jesus, John grew in knowledge of spiritual +things. He was one of the three accompanying their Master to the Mount +of Transfiguration, where they witnessed a sacred scene withheld from +the others. His nature was affectionate and poetic, and he was a deep +thinker. Often when the meaning of Jesus' words was beyond his +hearers, John treasured the sayings in his memory. On the evening when +Jesus sat at table with his disciples for the last time, John was near +him, leaning on his Master's breast. When, on the next day, Jesus hung +upon the cross, it was John to whom he commended his mother as to a +son. "And from that hour that disciple took her unto his own home." + +In the years that followed, John pursued his Christian service with +the zeal of an ardent nature. He remained awhile in Judaea and, in +company with Peter, added many converts to the faith. He then carried +the work into Asia Minor, where he founded seven churches. Not only +was he a preacher and organizer, but a voluminous writer as well. The +fourth Gospel is believed to be his work, in which he records many +words and deeds of Jesus overlooked by the other Evangelists. He was +also the writer of the three Epistles which bear his name. Finally, he +is supposed to be the author of the book of Revelation, in which he +described his visions during his exile in the isle of Patmos. +According to tradition, he lived to a great age, and died at Ephesus +in Asia Minor. + +The love with which Christians cherish the memory of St. John is seen +in the number of churches bearing his name. One such is that in Parma +which was newly built at the time when Correggio was winning his first +laurels. The most important portions of the interior decorations were +executed by our painter. + +Before considering the frescoes of the cupola, the visitor to the +church likes to pause before the lunette over the door of the left +transept. The subject is St. John, seated with his writing materials +on his lap. There is a pile of books behind him and a volume beside +him. At his feet stands the symbolic eagle pluming his wing. + +[Illustration: ST. JOHN THE EVANGELIST +_Church of S. Giovanni Evangelista, Parma_] + +The emblems of the Evangelists are drawn from Ezekiel's vision of +the "four living creatures," whose faces were those of a man, a lion, +an ox, and an eagle. Applied respectively to the writers of the four +Gospels, each emblem suggests some characteristic trait. The eagle is +especially appropriate to St. John. As the bird soars into the upper +regions of the sky and looks directly at the sun, so St. John's +inspiration raised him into the highest realms of thought, where he +seemed to gaze directly upon the divine glory. It is for this that he +is called St. John, "the divine." As the Latin inscription over the +lunette reads, "More deeply than the others he disclosed the mysteries +of God."[14] + +[Footnote 14: "Altius coeteris Dei patefecit arcana."] + +In our picture the Evangelist lifts his eyes heavenward as if +beholding a vision. His lips are parted, and he has the rapt +expression of one absorbed in meditation. His right hand still holds +the pen as he pauses for inspiration. + +In trying to do honor to the beloved disciple, the painters have +always represented him as the most beautiful of the twelve. As the +most Christ-like in character, he is made to resemble the typical +figure of Christ. So in this fresco by Correggio, he is a beautiful +youth, with the curling hair, the oval face and the regular features +we associate with the person of Jesus. Though the beardless face is so +refined, there is nothing weak or effeminate about it. The whole +figure is indeed very manly. The head is well set on a full throat and +the shoulders are broad. Rising to his feet St. John would be a tall, +athletic young man, capable of lending a strong hand at his father's +fishing-nets. The union of strength and refinement makes the picture +one of the most attractive ideals of St. John ever painted. + +The keynote of St. John's Gospel is the love of God; his ardent nature +never wearied of the theme; the wonder in his lifted face shows him +still intent upon the mystery. Were we to seek some characteristic +utterance which should appropriately interpret his thoughts, it might +well be the words of Jesus to Nicodemus, "God so loved the world that +he gave his only begotten son, that whosoever believeth in him should +not perish, but have everlasting life."[15] + +[Footnote 15: St. John, chapter iii., verse 16.] + + + + +VII + +ST. JOHN AND ST. AUGUSTINE + + +The church of S. Giovanni Evangelista (St. John the Evangelist), in +Parma, is built with a dome-shaped cupola which Correggio filled with +a fresco decoration. The subject is drawn from the life of the apostle +whose name is given to the church: it is the vision of St. John on the +isle of Patmos. Looking up into the dome, one seems to be looking +directly into the open sky, upon the figure of Christ ascending into +heaven. The apostles sit in a circle on the clouds, and beneath them +the aged St. John kneels on the mountain top, gazing upwards upon the +vision. The heavenly spaces are alive with angels, for, as Browning +writes:-- + + "Correggio loves to mass, in rifts + Of heaven, his angel faces, orb on orb." + +The little creatures are sporting among the clouds and, in the poet's +phrase, "waiting to see some wonder momently grow out." + +Where the dome rests upon the four arches which support it, are four +triangular corner-pieces called pendentives, which also belong to +Correggio's decorative plan. They are devoted respectively to the +figures of the four Evangelists, each one accompanied by one of the +four Fathers of the Church. The Christian Fathers were the men whose +writings and teachings shaped the doctrines of the faith in the early +centuries of our era. They interpreted for the people the meaning of +the Scriptures and the Gospels. + +The pendentive of our illustration contains St. John with St. +Augustine. The two sit side by side, engaged in a discussion over the +book which they hold together. St. John is young and beautiful, as the +painters always represent him, except in the subject of the vision of +Patmos. The face is perhaps less strong and the expression less +exalted than in the lunette we have studied. There is a boyish +eagerness in his manner. The symbolic eagle is beside him, peeping out +from the folds of the drapery. St. Augustine is a handsome old man +with finely cut features. To understand how well the figure fits his +character, we must know something of his life.[16] + +[Footnote 16: The life of St. Augustine, also called St. Austin, is +related in the _Golden Legend_. See Caxton's translation in the +_Temple Classics_, vol. 5, page 44. Mrs. Jameson gives a condensed +account of the life in _Sacred and Legendary Art_, p. 303.] + +He was born in Numidia near the middle of the fourth century, and +showed in his boyhood brilliant powers of mind. Without the help of +any teacher he read and mastered all the books necessary to an +education in the liberal arts. His mother, Monica, was a devout +Christian, and sought to lead her son to a godly life. For a long time +her efforts seemed in vain. Augustine would make no profession of the +Christian faith, but rather indulged in youthful dissipations. His +best quality was his love of study. He became a teacher of rhetoric, +and pursued his vocation in one city and another, always dissatisfied +with his life. At length, in his thirtieth year, he came to Milan, +where he fell under the influence of Bishop Ambrose. Then followed a +mighty struggle in his soul, and in the end he yielded himself +joyfully as a disciple of Christ. On the occasion of his baptism was +composed the hymn called the "Te Deum" which is still used in +churches. + +[Illustration: ST. JOHN AND ST. AUGUSTINE +_Church of S. Giovanni Evangelista, Parma_] + +Henceforth the life of Augustine was filled with Christian labors. +After some ten years of devout living he became the bishop of Hippo +(near Carthage) where he resided for thirty-five years, until his +death in 430. All his stores of learning were devoted to the +explanation of Christian theology. He wrote a great number of +treatises refuting what he believed to be heresies, and setting forth +what he considered the true doctrines of the faith. An old writer +pronounced him "sweet in speech, wise in letters, and a noble worker +in the labours of the church." In a book of "Confessions" he laid bare +all his faults with great humility. + +In our picture the good bishop is learning the truths of the faith +from St. John, while a child-angel behind him holds his crosier and +mitre. Allowing for the difference of ages, there is a certain +resemblance between the two men, showing that they have in common a +refined and sensitive nature, and an ardent temperament. The older +man's face shows lines of thought and character. + +St. John seems to be counting off the points of the discussion on his +fingers: it may be that he is unfolding the doctrine of the Trinity. +The bishop follows the argument slowly, imitating St. John's gesture +with hesitating hands. What seems so clear to the eager young teacher +requires much deliberation on the part of the learner. The old man +knits his brows with an intent expression, striving to understand the +mystery. The two earnest faces turned towards each other make an +interesting contrast. + +The angel figures of the pendentive are worthy of notice. Three little +creatures are frolicking on the clouds below the saints' feet, and two +are perched on the upper part of the arches. They are wingless +sprites, playful as human children, but with a grace and beauty not of +earth. Two seem to be emerging from a hiding-place in the clouds, and +gaily hail their comrade on the arch above. The lovely sprite on the +opposite arch is thinking of other things, and looks over his shoulder +across the church. The tiny fellow in charge of the mitre and crosier +peeps out with a mischievous countenance. + +Our reproduction shows a portion of the soffits, or under sides of the +arches, decorated with figures from Old Testament history, painted in +monochrome. + + + + +VIII + +ST. MATTHEW AND ST. JEROME + + +The apostle Matthew was employed as a tax-gatherer in Jerusalem when +he became a disciple of Jesus. He was sitting one day at the receipt +of customs, when Jesus passed by and said unto him, "Follow me." "And +he left all, rose up and followed him."[17] Soon after, the new +disciple made a great feast for the Master, scandalizing the scribes +and Pharisees by inviting guests of doubtful reputation. Matthew, +however, had rightly judged the spirit of Jesus, who had come "not to +call the righteous, but sinners to repentance." Throughout the +ministry of Jesus, Matthew remained a faithful disciple, but without +distinguishing himself in any way. Evidently he had a thoughtful mind +and a good memory. In his Gospel he reported very fully the Sermon on +the Mount and many of the parables. + +[Footnote 17: St. Luke, chapter v., verse 28.] + +One of the pendentives of the cupola in the church of S. Giovanni +Evangelista is devoted to St. Matthew in company with St. Jerome. The +Evangelist turns from the open Gospel before him to speak to St. +Jerome, who is occupied with his writing. A winged cherub, sitting on +a cloud in front of him, supports his book with both outstretched +arms. The cherub is St. Matthew's emblem, as the eagle is that of St. +John. It is by this charming figure that the old masters represented +the face of "a man," that is, the human face, in the "living creature" +of Ezekiel's vision.[18] The symbol is appropriately applied to the +first Evangelist because his Gospel emphasizes the humanity of Jesus. + +[Footnote 18: See also pages 34, 35.] + +The token of St. Jerome's identity is the cardinal's hat, held by an +angel on the arch beside him. The two volumes on his lap, in addition +to the scroll upon which he is engaged, show how busy has been the pen +of this learned Father. As the old chronicler relates, "he never +rested day ne night, but always read or wrote."[19] + +[Footnote 19: The life of St. Jerome is related in the _Golden +Legend_. See Caxton's translation, in the _Temple Classics_, vol. v., +page 199. Mrs. Jameson gives a condensed account of the same in +_Sacred and Legendary Art_, page 280.] + +He came of a rich family, and received at Rome the best education +afforded by his times. Like his contemporary, St. Augustine, he +devoted all his scholarship to the service of the Christian faith. +While St. Augustine's tastes were more philosophical, St. Jerome's +were perhaps more for pure learning and the study of the classics. He +made himself master of Hebrew and Greek, and his most valuable work +was his translations. He rendered into Latin, which was the literary +language of his day, the various books of the Old and New Testament, +and this version became the authorized Bible or Vulgate. + +[Illustration: ST. MATTHEW AND ST. JEROME +_Church of S. Giovanni Evangelista, Parma_] + +St. Jerome was a Dalmatian by birth, but in the course of his life +he journeyed to many countries. Soon after his baptism, he visited +Syria, to retrace the scenes of the life of Christ. He then retired to +a desert, where he passed four years in penance and fasting, living in +the companionship of wild beasts. Clothed in sackcloth, he spent his +days in torture, struggling with temptation, and haunted by visions of +demons. + +At a later period of his life he was in Rome, where he gained an +immense influence over fashionable women. Two of his converts here +were Paula and Marcella, whose names are historical. Finally he +returned to Palestine, and passed the remainder of his days in a +monastery which he had founded in Bethlehem. He was a man of vehement +nature, a violent partisan, and an untiring student. + +Something of his character may be seen in the face of the old man of +our picture, bending over his writing. He seems so absorbed in his +task that he is entirely unconscious of his surroundings. The deep-set +eyes, overhung by shaggy brows, are fixed intently on his scroll. From +his association with St. Matthew, we may fancy that he is translating +the first Gospel. The Evangelist, with his own volume before him, is +supervising the work. He turns to the translator with an encouraging +smile, and seems to dictate the words. St. Matthew's face is gentle +and amiable, though not so strong as we are wont to imagine it. He is +here represented in middle life, at about the age when called to +discipleship. + +As in the pendentive of St. John and St. Augustine, the angel figures +add an element of beauty to the picture. Each one seems attracted by +some distant object. The cherub holding St. Matthew's book looks +towards the worshippers in the church. Some one in the congregation +also seems to attract the attention of the angel with the cardinal's +hat, and he smiles shyly, as if in reply to a gesture of admiration. +His companion on the other arch turns his eyes towards the figures in +the dome, where the apostles are enthroned on clouds. The playful +little fellow on the clouds below St. Matthew's feet looks across at +the sprites of the opposite pendentive. + +All this charming by-play gives the impression of a company of living +spirits frolicking among the arches of the church. "Have Correggio's +_putti_[20] grown up yet and walked out of their frames?" the painter, +Guido Reni, used to ask, referring with quaint humor to the wonderful +lifelikeness of such child figures. So, looking at these angels, we +half expect to see them wave a hand to us over the arches, and, +turning with a sudden motion, disappear from our sight among the +clouds. + +[Footnote 20: Italian for "boys."] + + + + +IX + +THE REST ON THE RETURN FROM EGYPT + +(The Madonna della Scodella) + + +Before the child Jesus was two years old, he was taken on a journey +which at that time was long and tedious. An angel appeared to Joseph +one night in a dream, saying, "Arise, and take the young child and his +mother, and flee into Egypt, and be thou there until I bring thee +word; for Herod will seek the young child to destroy him." + +The news of Jesus' birth had been first brought to King Herod by the +wise men of the East, who came in search of the new-born king whose +star they had seen. The idea of a strange ruler to usurp the throne +alarmed Herod, and he determined to be rid of any possible rival. +Accordingly orders were given to slay all children in and near +Bethlehem "from two years old and under." + +While this terrible slaughter was going on, the Holy Family were +making their way to the strange land of refuge. Here they lived, +awaiting heavenly guidance for their return. "But when Herod was dead, +behold an angel of the Lord appeareth in a dream to Joseph in Egypt, +saying, Arise, and take the young child and his mother, and go into +the land of Israel; for they are dead which sought the young child's +life. And he arose, and took the young child and his mother, and came +into the land of Israel."[21] + +[Footnote 21: The quotations are from St. Matthew, chapter ii.] + +This is all the Evangelist tells us of what was doubtless an exciting, +perhaps even a perilous adventure. We may suppose both journeys to +have been made by donkeys, the common beasts of burden in Eastern +countries. The young mother and child must certainly have had to ride. +As for Joseph, he was a sturdy man, and may well have walked; in those +days travelling was a matter of time. Unused to luxuries, these simple +folk trusted in Providence to supply their few needs by the way. + +Our picture illustrates an imaginary incident on the return journey +from Egypt to Israel. It is the hour of the noonday rest, and the +little company have come to a halt in the woods. An old legend relates +how at such times the trees would bend to offer them fruit, and +springs would gush forth out of the dry ground for their refreshment. +Mary has seated herself on a bank by the stream, while Joseph plucks +the fruit from the date palm near by. + +The boy Jesus has been standing between the two, watching Joseph, from +whose outstretched hand he now takes the fruit. At the same time he is +thirsty, and leaning back towards his mother, he turns and throws an +arm over her shoulder, asking for a drink of water. She has a round +basin (or _scodella_) which the family use as a drinking-cup, and the +child points to it with a coaxing smile, resting his hand on her +wrist. + +[Illustration: THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) +_Parma Gallery_] + +Mary turns with fond pride towards the dear little face so near her +own. Her face is the same which we have already seen bending in a +mother's first ecstasy over her babe. Here it has a maturer and more +matronly look, but with no less sweetness. Joseph, from his higher +level, looks down kindly upon the two. His generous nature seems to +take delight in anything that gives them pleasure. He is large and +heavily built, a stalwart protector should perils beset them. In spite +of the thick draperies so clumsily wound about him, he is a dignified +figure. He holds here a place of prominence seldom given him by other +painters. + +The child upon whom so much love is lavished is a tall, lithe boy with +a well shaped head. His hair is parted, and falls in loose curls on +each side of a forehead which marks him a child of genius. The face is +delicate and sensitive, with a shy expression in the eyes. + +The family are not alone, for, all unseen by them, a company of +ministering angels wait upon them. A tall one in the rear takes care +of the donkey. Another little creature peeps from the thicket beside +Mary. Four more circle overhead among the branches of the trees, borne +upon little clouds which they have brought with them from the upper +regions. Their wind-blown hair and fluttering garments show how swift +is their motion. One of them tugs mightily at the palm, throwing +himself backward in the effort to bend it towards Joseph. Two others +sport together with interlocked arms, and higher still, a pair of +eyes gleam through the leaves. The whole jocund company seem to fill +the place with mirth. They fulfil the promise of the ancient psalmist, +"He shall give his angels charge over thee, to keep thee in all thy +ways." + +Certain characteristics of Correggio's art are well illustrated in the +picture. His delight in the foot is here almost equal to that he shows +for the hand in "The Marriage of St. Catherine." The three wayfarers +travel with bare feet, and the ministering angels flaunt their feet +gaily in the air. Drawn in many positions, it is interesting to see +how decorative this feature of the picture is. + +The figures are cleverly grouped, that they may completely fill the +tall, narrow panel. The composition is built on a diagonal plan. From +the left hand of Joseph, grasping the palm branch, to the right hand +of Mary, with the basin of water, runs the strong main line which +gives character to the drawing. The child links the two larger figures +together, by stretching out a hand to each. The group of cloud-borne +angels above also follows a diagonal direction parallel to the larger +group. We shall presently see that the painter used the same method of +composition in another picture. + +The opening beyond the copse, where the donkey is tied, makes the spot +seem less gloomy and isolated. It is an important principle of art to +represent no enclosed place without a glimpse of light in the +background. + + + + +X + +ECCE HOMO + + +The old Hebrew prophet who wrote of the coming Messiah predicted that +he should be "despised and rejected of men, a man of sorrows, and +acquainted with grief." How fully the prophecy was realized, we may +read in the narrative of the trial and crucifixion of Jesus. + +The enemies of Jesus had to deal with their prisoner according to the +formality of the Roman law. They brought him to the Roman governor, +Pontius Pilate, accusing him of "perverting the nation, and forbidding +to give tribute to Caesar, saying that he himself is Christ, a +king."[22] The governor duly examined Jesus, but, finding no case +against him, proposed to scourge him and let him go. + +[Footnote 22: St. Luke, chapter xxiii., verse 2.] + +"Then Pilate therefore took Jesus and scourged him. And the soldiers +platted a crown of thorns and put it on his head, and they put on him +a purple robe, and said, Hail, King of the Jews! and they smote him +with their hands. Pilate therefore went forth again, and saith unto +them, Behold, I bring him forth to you, that ye may know that I find +no fault in him. + +"Then came Jesus forth, wearing the crown of thorns, and the purple +robe. And Pilate saith unto them, Behold the man! When the chief +priests therefore and officers saw him, they cried out, saying Crucify +him, Crucify him."[23] Pilate again sought to release Jesus, but the +people continued to clamor, "Away with him," "Crucify him." "Then +delivered he him therefore unto them to be crucified."[24] + +[Footnote 23: St. John, chapter xix., verses 1-6.] + +[Footnote 24: _Ib._, verse 16.] + +The Latin form of Pilate's words, "Behold the man," has given the +title "Ecce Homo" to our picture. It is the moment when Jesus comes +forth from the rude mockery of the soldiers, clad in a royal robe, and +wearing the crown of thorns. The governor has bidden one of the +soldiers lead the prisoner out on a balcony of the palace. An eager +throng of people are waiting outside, but they are not all enemies. +Among them are a few faithful women, and they are allowed to press +close to the balcony. At the sight of her son, treated as a criminal +with bound hands, the mother, Mary, falls swooning over the +balustrade, supported by a younger woman. + +Pilate standing in the doorway behind appeals to the crowd: "I find no +fault in him. Behold the man." He has been deeply impressed by his +interview with Jesus, and is willing to do something in his behalf. +His face is good-natured, we see, but with no strength of character in +it. He is a handsome man with curling beard carefully trimmed, +apparently not a hard man to deal with, but easy-going and selfish. + +[Illustration: ECCE HOMO +_National Gallery, London_] + +Jesus stands with drooping head and an expression of suffering +resignation. In the menacing faces before him he sees the hatred which +will be satisfied with nothing less than his death. Already he hears +the cruel cry, "Crucify him, crucify him." His badge of kingship is +the crown of suffering. Were his kingdom of this world, his servants +would deliver him from his enemies. As the ruler of a heavenly +kingdom, he was born "to bear witness unto the truth." + +The rich mantle, which the soldiers have mockingly thrown over his +shoulders, falls away and shows the body as it had been bared for the +scourging. It is a beautiful form, perfectly developed, and the arms +and hands are as delicately modelled as a woman's. The face is oval, +with regular features of classic mould, a short parted beard, and long +hair falling in disordered curls about it. This is the typical face of +Christ, as it has been handed down from generation to generation since +early in the Christian era. The rude pictures in the catacombs are on +the same model. So faithfully has the type been followed through the +centuries, some believe that the original must have been an authentic +likeness.[25] + +[Footnote 25: See _Rex Regum_, by Sir Wyke Bayliss.] + +The mother Mary is still young and beautiful. As the great +Michelangelo said, "Purity enjoys eternal youth."[26] A heavy veil or +mantle is draped over her head, framing the pure profile of her face. +This form of drapery is common among the old masters in painting Mary +as _Mater Dolorosa_, or the Sorrowing Mother. + +[Footnote 26: See the volume on Michelangelo in the _Riverside Art +Series_, page 35.] + +Artistically considered, this figure of the fainting mother is the +finest thing in the picture. Her companion, probably Mary Magdalene, +is also a lovely creature, though we see only a part of her face. + +The subject is in tragic contrast to the illustrations we have just +been studying. It seems strange to connect this Man of Sorrows with +the happy boy we saw by the woodland spring, or this grief-stricken +woman with that proud young mother. Correggio himself, we know, shrank +from such sad themes. + +Like the picture of The Marriage of St. Catherine, our illustration +shows how skilfully Correggio painted hands. The drooping fingers of +the Saviour taper delicately, with long almond-shaped nails. Pilate's +hand has slender, flexible fingers like those of some dainty woman, +and might be mated with that of Mary Magdalene. It is apparent that +the study of hands and feet interested our painter more than that of +faces. We shall lose much in his pictures if we do not give special +attention to these features. In the case before us, the face of Christ +must be less attractive, on account of the sorrowful expression. To +make up, as it were, for this, the hands are brought into prominent +notice, and are very beautiful. + + + + +XI + +APOSTLES AND GENII + + +The glory of Parma is the Cathedral, which represents the labors of +many centuries. The building itself was begun in 1058, and completed +in the thirteenth century. The interior was beautified by a succession +of artists, one of whom was our painter Correggio. His work here was +the decoration of the cupola, and he began it immediately upon +finishing the frescoes in the church of S. Giovanni Evangelista. + +The Cathedral dome is octagonal in shape. In the roof, or topmost +space, the Virgin Mary seems borne on circling throngs of saints and +angels to meet the Saviour in the upper air. Below the dome runs a +cornice, or frieze, in eight sections, filled with figures of apostles +gazing upon the vision. Still lower are four decorated pendentives, +similar to those in the church of S. Giovanni Evangelista. These +contain respectively the four patron saints of Parma. + +To the spectator looking up from below, the effect is of "a moving +vision, rapturous and ecstatic." A multitude of radiant figures sweep +and whirl through the heavenly spaces. "They are upon every side, +bending, tossing, floating, and diving through the clouds, hovering +above the abysmal void that is between the dome and the earth below +it."[27] Wonderful indeed is the triumph of the painter's art in this +place. "Reverse the cupola and fill it with gold, and even that will +not represent its worth," said Titian. + +[Footnote 27: E. H. Blashfield in _Italian Cities._] + +Our illustration shows a portion of the octagonal cornice. The design +is a simulated balcony ornamented with tall candelabra. In front stand +the apostles grouped in twos at the corners. On the top of the +balustrade, in the spaces between the candelabra, sport a band of +genii, or heavenly spirits. + +The four apostles are men of giant frames with broad shoulders and +stalwart limbs. They are of middle age, heavily bearded, and all look +much alike. It would be impossible to call one Peter, and another +Paul, or to identify any particular persons. Evidently it was not the +intention of the artist to distinguish individuals. All the figures +are turned with lifted faces towards the vision in the dome. Each +expresses, by a gesture, the wonder, joy, rapture, or admiration +aroused by the spectacle. Their attitudes are somewhat extravagant and +self-conscious. The drapery, too, is rather fantastic, flung about +their figures, leaving arms and legs bare. Were the picture taken out +of its surroundings it would scarcely suggest a Christian subject. +These colossal beings are like Titans moving through the figures of a +sacred dance, and murmuring the mystic incantations of some heathen +rite. + +[Illustration: APOSTLES AND GENII +_Cathedral, Parma_] + +But we must not press our interpretation too far. The panel should be +studied for its decorative quality as a part of a larger scheme. +Viewed from below, this procession of figures must be exceedingly +effective. The emphasis of lines is diagonal, flowing in the direction +of the focal point of the whole decoration. + +The genii of the balustrade are beings of Correggio's own creation. +His imagination called forth a world of spirits without a counterpart +in the work of any other painter. Lacking the wings usually given in +art to angels, they also lack the proper air of sanctity for heavenly +habitants. Yet they are far too ethereal for mortals. Neither angel +nor human, they are rather sprites of elf-land. With their tossing +hair and agile motions they remind us of woodland creatures, and they +look shyly out of their eyes like the furtive folk of the forest. + +They are sportive, but not mischievous, in the human sense. They +frolic in the pure delight of motion. By mortal standards of age they +are between childhood and youth, when limbs are long and bodies +supple. Their only draperies are narrow scarfs which they twist about +them in every conceivable way. + +Of the seven figures seen in our illustration, two only have any +ostensible purpose to serve. One seems to be lighting a candelabrum +with a flambeau; another carries a bowl which may be used for incense. +The others are idlers. If they have any duties as acolytes, these are +for the moment forgotten. Several are attracted by the ceremonies in +the cathedral and look down from their high perch upon the worshipping +congregation. + +The sprite at the extreme right is seated, and peeps over his shoulder +with a rather dreamy expression. Next come two who are playing +together, one throwing up his left arm as if to balance himself. +Beyond the candelabrum is one whose parted hair and coquettish pose of +the head give a feminine look to the figure. The sprite in the centre +of the balustrade is the most winsome of the company. His bright eyes +have spied out some one in the congregation, and stooping, he points +directly at the person. His expression is very roguish. The little +fellow with the flambeau is at the left, and last is one whose face is +turned away towards the imaginary space behind the balcony. + +Our illustration gives us a general idea of Correggio's decorative +method. The human body was his material; his patterns were woven of +nude figures, posed in every possible attitude. Every figure is in +motion, and the whole multitude palpitates with the joy of living. + + + + +XII + +ST. JOHN THE BAPTIST + + +In one of the pendentives of the cupola in the Parma Cathedral is the +figure of St. John the Baptist reproduced in our illustration. The +background is made to resemble somewhat the interior of a shell. On +billows of clouds sits the prophet, with a lamb in his arms, and a +circle of angels playing about him. + +St. John the Baptist was a cousin of Jesus, and the first to recognize +the true character of the carpenter's son. While Jesus was still +living in obscurity in Nazareth, John went forth to preach in the +wilderness about the river Jordan. His manner of life was very +singular. He "had his raiment of camel's hair and a leathern girdle +about his loins; and his meat was locusts and wild honey."[28] + +[Footnote 28: St. Matthew, chapter iii., verse 4.] + +The preacher was stern in denouncing sin and in warning evil-doers of +the wrath to come. The burden of all his sermons was, "Repent, for the +kingdom of heaven is at hand." When the people asked him what they +ought to do, his answers were full of common sense. "He that hath two +coats, let him impart to him that hath none; and he that hath meat, +let him do likewise." To the tax-collectors, he said, "Exact no more +than that which is appointed you;" to the soldiers, "Do violence to no +man, neither accuse any falsely."[29] + +[Footnote 29: St. Luke, chapter iii.] + +The authorities sent from Jerusalem to question the claims of the +strange preacher; but his reply was in the words of the old Hebrew +prophet, "I am the voice of one crying in the wilderness."[30] + +[Footnote 30: St. John, chapter i., verse 23.] + +It was the custom of John to baptize his converts in the river Jordan. +One day Jesus presented himself for baptism, and John saw in him one +whose shoe's latchet he was not worthy to unloose. At once he +proclaimed him to the people as the "Lamb of God who taketh away the +sins of the world."[31] + +[Footnote 31: _Ib._, verse 29.] + +With the entrance of Jesus upon his ministry, John's work was +fulfilled. "He must increase, but I must decrease," said the prophet +humbly.[32] He was soon after cast into prison by King Herod, whose +vices he had openly rebuked. Thence he was taken out only to be +executed. + +[Footnote 32: St. John, chapter iii., verse 30.] + +It must be confessed that Correggio cared very little about making a +true character study of St. John. There is not much in the figure of +our pendentive to suggest the stern and fearless prophet of the +wilderness. The humility of the countenance is perhaps the feature +most appropriate to the character. The shy, haunting expression in the +eyes is, too, such as belongs to one who, like St. John, lived much +alone in the woods. The tunic is short and sleeveless, showing the +strong limbs of the hermit. + +[Illustration: ST. JOHN THE BAPTIST +_Cathedral, Parma_] + +For the rest, the Baptist's face has the same gentle amiability we +have already seen in St. Matthew and Joseph. The type is a common one +with Correggio. A certain resemblance runs through nearly all his male +figures, whether of smooth-faced youth, bearded manhood, or hoary old +age. + +The tenderness of St. John for his little lamb is the chief motive of +the picture. He carries it on his left arm, supporting the weight on +his knee, and the innocent creature puts its nose close to the +prophet's face. The lamb is the accepted symbol of St. John the +Baptist, in allusion to the words with which he addressed Jesus at the +Jordan, "Behold the lamb of God." The same figure is used in the book +of Revelation, where the Lamb is described "in the midst of the +throne." Standing for the person of Christ himself, St. John holds the +sacred emblem with reverence. To understand why his face is lifted in +this direction we must remember that his glance is directed toward the +vision in the dome just above. + +The angel figures of this pendentive are among the most beautiful and +characteristic of the myriad throng of the cupola. The impression made +by this great spirit company upon one standing beneath the dome has +been described in some lines by Aubrey de Vere:-- + + "Creatures all eyes and brows and tresses streaming, + By speed divine blown back; within all fire + Of wondering zeal, and storm of bright desire. + Round the broad dome the immortal throngs are beaming, + With elemental powers the vault is teeming; + We gaze, and gazing join the fervid choir, + In spirit launched on wings that ne'er can tire." + +While the spirits in the upper part of the cupola are massed so +closely together that we do not see the full beauty of each one, these +in our picture may be studied separately. There are six in all, and +their purpose is to call the attention of the worshippers to the +prophet. The two in the rear, whose bodies are hidden in the clouds, +gaze upon him adoringly. One on each side points with outstretched +finger to the lamb, as if repeating the Baptist's words, "Behold the +lamb of God." The angel astride the cloud in front was interrupted in +the same task by a little fellow suddenly shooting out from the clouds +beneath him. He peers into the opening at one side, but still lifts +his left hand towards the prophet above him. + +The six figures are arranged in a semicircle, and their slender limbs +and lithe bodies trace rhythmic lines of grace. The most charming of +the company is perhaps he at the right, whose eyes meet ours with a +bewitching smile. + + + + +XIII + +CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN + +(Noli me tangere) + + +It was Sunday, the third day after the crucifixion of Jesus. Early in +the morning, while it was yet dark, a young woman made her way to the +rock-hewn tomb in the garden of Joseph of Arimathea. It was Mary +Magdalene, whom Jesus had rescued from a life of sin. Much had been +forgiven her, therefore she loved much. In her sorrow she came to +visit the spot where the body of her crucified Master had been laid. + +Great was her surprise to find that the stone placed at the entrance +of the tomb had been rolled away. In her perplexity, she ran to tell +the disciples Peter and John. They all hurried back together to the +garden, and the two men, entering the tomb, found it empty. Unable to +explain the mystery, they presently returned home, leaving Mary still +standing without the sepulchre weeping. + +"And as she wept, she stooped down, and looked into the sepulchre, and +seeth two angels in white sitting, the one at the head, and the other +at the feet, where the body of Jesus had lain. And they say unto her, +Woman, why weepest thou? She saith unto them, Because they have taken +away my Lord, and I know not where they have laid him. + +"And when she had thus said, she turned herself back, and saw Jesus +standing, and knew not that it was Jesus. Jesus saith unto her, Woman, +why weepest thou? whom seekest thou? She, supposing him to be the +gardener, saith unto him, Sir, if thou have borne him hence, tell me +where thou hast laid him, and I will take him away. Jesus saith unto +her, Mary. She turned herself, and saith unto him, Rabboni; which is +to say, Master. + +"Jesus saith unto her, Touch me not; for I am not yet ascended to my +Father: but go to my brethren, and say unto them, I ascend unto my +Father, and your Father; and to my God, and your God."[33] + +[Footnote 33: Chapter xx. of the Gospel according to St. John, verses +11-17.] + +Our picture illustrates the story of that first Easter morning. Jesus +has greeted Mary by name, and she has instantly recognized the Master. +Sinking on her knees, she would have impulsively stretched out her +hands to him, but he repels her with a gesture. Awe-struck, she gazes +into his face, while he explains the message she is to carry to the +disciples. + +[Illustration: CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI +ME TANGERE) +_Prado Gallery, Madrid_] + +The risen Lord is clad in but one garment, a heavy mantle, knotted at +the waist. The upper part is slipping from his shoulders, leaving the +torso bare. The beauty of the form reminds us of a Greek statue. On +the ground beside him are some garden tools, a hoe and a spade, and +beyond these lies a straw hat. These things explain why Mary, blinded +and confused with weeping, supposed that it was the gardener who spoke +to her. + +The Master's attitude and gesture emphasize the meaning of his words. +The body sways slightly to one side, as if shrinking from Mary's +touch. He still holds his right hand outstretched, as when he said +"Touch me not." And now he raises his left arm, and pointing +heavenward declares that he is about to ascend to his Father. He seems +to speak gently as to a child, and looks down into Mary's face with a +smile. + +The young woman is richly arrayed in a brocade dress, cut so as to +show her beautiful neck and arms. A mass of wavy golden hair falls +over her shoulders and upon her bosom. Her tapering wrists and +delicate hands indicate gentle blood, but her features are somewhat +heavy, and the face would not attract us by its beauty. The rapt +expression of devotion is what makes it interesting. The whole +attitude expresses complete self-forgetfulness. + +The lithe and youthful figure of Christ recalls the boy we saw in a +former picture journeying from Egypt. We can see that this is the man +into whom that child is grown. We note again the high full forehead +over which the parted hair is brushed in curves. Again, too, we see +the small mouth with the gentle smile. The figure in general features +resembles the Christ type which is illustrated in the picture of Ecce +Homo. + +In painting the figure of the risen Christ, the old masters were +accustomed to give prominence to the nail prints in hands and feet, +and the wound in his side. Correggio has not done this. Such signs of +suffering were inconsistent with the joyous nature of his art. The +subject of the picture is entirely a happy one, and he has kept out of +it all evidences of the crucifixion, emphasizing rather the idea of +the ascension. + +In some artistic points our picture resembles the Madonna della +Scodella. The pose of Christ is similar to that of Joseph, with one +arm lifted up, and the other reaching down. Thus is formed the +diagonal line which is at the basis of the composition. The right arm +of Mary carries the line on to the lower corner of the picture. + +The landscape setting makes a spacious background, and a large tree +behind Christ throws his figure into relief. + + + + +XIV + +THE MADONNA OF ST. JEROME + +(Il Giorno) + + +It is a bright clear day, and a baby boy is having a rare frolic out +of doors, on his mother's knee. It is the little Christ-child, and his +visitors are St. Jerome and Mary Magdalene. Overhead a red cloth +drapery has been stretched from tree to tree, making a sort of canopy +to protect the company from the direct rays of the sun. St. Jerome has +brought as an offering the books which represent the scholarly toil of +many years. Mary Magdalene has her jar of ointment for the anointing +of the Saviour's feet. + +The mother sits on a slight elevation in the centre, her bare foot +resting on the ground. St. Jerome 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, stoops to caress a little +foot. The sturdy old father seems to have come directly from his +monastery in Bethlehem, and his lion follows him like a faithful dog. +The old legend relates that as he sat one evening at his monastery +gate, a lion approached, holding up a paw which was pierced with a +thorn. The good father removed the thorn and dressed the wound, and +the grateful beast became thenceforth the constant companion of his +benefactor. + +The scroll in St. Jerome's right hand may be any one of his many +treatises or translations. The large open volume is undoubtedly his +Latin version of the Bible. One side of the book is supported on his +left hand, while the other is held by an attendant angel, who turns +the pages for the Christ-child. There is something very interesting on +the page now open, and the angel points a slender finger to a +particular passage. The child is wrought up to the highest pitch of +excitement. He stretches out his legs and arms, his whole body +stiffening in a tremor of joy. He fairly pants with eagerness for the +treasure just beyond his grasp. Though not a pretty boy, he is so full +of life that we find him very captivating. + +Old St. Jerome looks immensely pleased with the child's delight. The +angel playfellow is delighted with his success in amusing the baby, +and laughs sympathetically with him. The mother smiles with gentle +indulgence, and holds him firmly lest he spring from her arms. Mary +Magdalene appears almost unconscious of what is going on. Her whole +being is absorbed in loving devotion. She 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 +over her neck. In throwing out his arms, the child's left hand has +fallen on the golden head, and here it rests as if he returned the +caress. In the mean time a mischievous urchin, who may be the boy +Baptist, holds the Magdalene's jar of ointment. He stands behind her +like a small lackey, and sniffs curiously at the contents of the pot. + +[Illustration: THE MADONNA OF ST. JEROME +_Parma Gallery_] + +If it seems strange that St. Jerome and Mary Magdalene should be here +together, we must remember that the painters of Correggio's time did +not try to represent sacred scenes with historical accuracy. It was +customary to bring together in a picture persons who lived in +altogether different periods and countries. The meaning of such +pictures was symbolic. The Christians of all ages constitute a +communion of the saints who meet at the Christ-child's feet. + +The two saints here make a fine artistic contrast,--the rugged and +grizzled old man, and the lovely golden-haired maiden. The splendid +muscular strength of the one is offset against the radiant beauty of +the other. In a devotional sense also the contrast is most +appropriate. St. Jerome has served the Christ with great powers of +intellect; Mary Magdalene brings only a woman's loving heart. The one +has written great books; the other could do nothing but anoint the +Saviour's feet. Yet the two kinds of service are equally important. +St. Jerome's translations have carried the gospel over the world, and +it is written that "Wheresoever this gospel shall be preached in the +whole world, there shall also this, that this woman hath done, be told +for a memorial of her."[34] + +[Footnote 34: St. Matthew, chapter xxvi., verse 13.] + +The composition of the picture is on a diagonal plan similar to that +which we have already noticed in his pictures.[35] The structural line +may be traced from the top of St. Jerome's head across the shoulders +and back of Mary Magdalene. The edge of the canopy overhead emphasizes +this line by following the same general direction. The child's figure +behind the Magdalene balances the figure of the lion in the left +corner. + +[Footnote 35: See chapters IX. and XIII.] + +The landscape which lies beyond the canopy is an important and +beautiful part of the picture. Without this spacious distance in the +background the large figures filling the foreground would crowd the +composition unpleasantly. It is a relief to the eye to traverse this +stretch of sunny country. + +The picture makes it possible for us to understand why Correggio has +been called a painter of "light and space and motion." All three +characteristics are admirably illustrated here. In color, too, the +original painting is very fine. The Virgin wears the usual red robe +and blue mantle, the colors denoting love and constancy. St. Jerome +has a blue drapery about the hips and a crimson mantle, while the +angel's tunic and Mary Magdalene's mantle are yellow. + +It is the clear golden atmosphere flooding the scene which gives it +the Italian name of "Il Giorno," The Day. + + + + +XV + +CUPID SHARPENING HIS ARROWS + +(Detail of Danae) + + +In the imagination of the ancient Greeks all human love was inspired +by the goddess Aphrodite, Venus, aided by her son, the little archer +Cupid. It was Cupid's office to shoot the arrows of affection. Being a +mischievous fellow, he took delight in aiming his shafts at the +unsuspecting. Often his victims were so oddly chosen that it seemed as +if the marksman had shot at random. Some believed that he did his work +blindfolded. + +The poets describe Cupid as a beautiful winged boy carrying a bow and +a quiver of arrows, and sometimes a torch. He flew at will through the +wide universe, but he loved best the island of Cyprus, which was his +mother's first home. "His head has goodly curls," wrote Moschus,[36] +"but impudent is the face he wears; his little hands are tiny, 'tis +true, yet they shoot far.... Small is his arrow, yet it carries even +to the sky.... He is naked indeed, so far as his body is concerned, +but his mind is shrouded. And being winged as a bird he flies upon now +one party of men and women and now another, and settles on their +inmost hearts." + +[Footnote 36: In the first idyl, translated by J. Bank.] + +The mingled pain and delight caused by a wound of love is explained by +the fact that Cupid's arrows were tipped with gall and honey. The way +in which they were fashioned is variously described by the poets. +Anacreon has it that they were made at the forge of Vulcan, the +husband of Venus, and the blacksmith of the gods. One of this poet's +odes relates how-- + + "In the Lemnian caves of fire + The mate of her who nursed Desire + Moulded the glowing steel to form + Arrows for Cupid thrilling warm; + While Venus every barb imbues + With droppings of her honeyed dews; + And Love (alas the victim heart) + Tinges with gall the burning dart."[37] + +[Footnote 37: In Moore's translation.] + +A slightly different explanation is given by the Latin poet +Claudian:-- + + "In Cyprus' isle two rippling fountains fall + And one with honey flows, and one with gall; + In these, if we may take the tale from fame, + The son of Venus dips his darts of flame." + +However the story may run, there is but one ending. The victim of the +love-god's arrow confesses that "loving is a painful thrill," but "not +to love, more painful still." + +[Illustration: CUPID SHARPENING HIS ARROWS (DETAIL OF DANAE) +_Borghese Gallery, Rome_] + +So bold was the little archer that the mightiest could not withstand +his arts. The war-god Mars, bringing his spear one day to Vulcan's +forge, smiled contemptuously at the light shafts of Cupid. "Try it," +said little Love, handing him one. Whereupon the foolish fellow cried +out in an agony of pain, and begged Cupid to take the arrow back. +Apollo, the archer of the sun, was equally imprudent, and was richly +punished for his sneers. An arrow from the fatal quiver made him mad +with unrequited love for the nymph Daphne. A being who could give so +much pain and pleasure was at once to be loved and feared. Hence all +paid homage-- + + "To Love, for heaven and earth adore him + And gods and mortals bow before him." + +In our picture, Cupid looks just as the poets have described him, a +beautiful baby boy with wings and "goodly curls." Only the milk and +honey of Cyprus could have made the little body so plump. A deep +crease marks the line of his wrist, a soft fold of flesh the neck. The +full quiver lies on the table beside him, and he is sharpening one of +the darts.[38] A little companion helps him hold the whetstone steady +while he presses the arrow tip upon its surface. Some lines of Horace +come to mind describing-- + + "Cupid sharpening all his fiery darts + Upon a whetstone stained with blood of hearts." + +[Footnote 38: Vasari says that Cupid is trying the arrow on a stone.] + +Cupid's companion is as like him as a twin, save that he has no wings. +He may be a human playfellow of the little god, or one of the brood of +loves with which the poets have peopled Cyprus. While the original +myth told of only one Cupid, imagination has multiplied his kind. We +read of the "playful rout of Cupids" attendant upon the love-god, who +rules as sovereign among them. + +The two children of the picture are intent upon their task. The very +seriousness of their manner argues some mischief in view. Evidently +they are preparing for a great conquest. The arrow must not fail of +its work, but must be sharp enough to carry the sweet poison straight +to the victim's heart. + +Both of the chubby fellows have rather large heads with clustering +ringlets. The wingless boy has the high, full forehead which marks an +active mind. Cupid seems to have the more energetic temperament of the +two, while his comrade is a bit of a dreamer. + +Our picture is a charming illustration of Correggio's love of +children. As it was not the fashion of his time to paint children's +portraits, he had to make his own opportunities for the favorite +subject. How ingenious he was we have had occasion to see in our +study. When given a sacred subject to paint he filled all the +available spaces with child angels sporting in the clouds. With the +ceiling of a room to decorate, he covered the whole surface with a +band of little boys at play. + +Our reproduction is a detail of a larger picture illustrating the myth +of Danae. The two little figures are in the lower right corner of the +canvas. + + + + +XVI + +A SUPPOSED PORTRAIT OF CORREGGIO + + +Almost every celebrated painter has at some time in his life sat for +his portrait. Many have painted their own likenesses, not so much from +motives of vanity, but as a matter of artistic interest. Others have +posed as models to their fellow painters. + +Correggio was an exception in this regard. The old biographer Vasari +made many efforts to procure a portrait, and concluded that "he never +took it himself, nor ever had it taken by others, seeing that he lived +much in retirement." + +Our painter, as we have seen, was not a student of the face. Form and +expression did not greatly interest him. He busied himself chiefly +with problems of light and shade. This is perhaps the reason why he +never thought it worth while to paint his portrait. He was not a +traveller, and probably never visited any of the great art centres of +his time. So he made no friends among the contemporary painters who +would have been likely to make his portrait. In any case his busy life +left little time for any work for himself, and if he thought at all of +a portrait, he doubtless postponed it to some more convenient season. +Waiting for such a time, his career was brought suddenly to an end. He +died of fever in Correggio at the age of forty. + +In the passing centuries one picture after another has been put +forward as a pretended portrait of Correggio. The painter's admirers +were always eager to believe that a real likeness had at last been +discovered. Though we cannot rely upon the genuineness of any of +these, some are very interesting. + +Such an one is our frontispiece, from a painting in the Parma Gallery, +pointed out as Correggio's portrait. Whoever the original may have +been, the expression is certainly animated and intelligent. There is +much humor and kindliness in the face. The unknown artist should have +the credit for the gift of revealing the individual character of his +sitter. + +Lacking an authentic portrait of the man Correggio, we have to content +ourselves with the short account of his character given by Vasari. "He +was a person," writes the biographer, "who held himself in but slight +esteem, nor could he ever persuade himself that he knew anything +satisfactorily respecting his art; perceiving its difficulties, he +could not give himself credit for approaching the perfection to which +he would so fain have seen it carried; he was a man who contented +himself with very little, and always lived in the manner of a good +Christian." + + + + +PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS + +The Diacritical Marks given are those found in the latest edition of +Webster's International Dictionary. + + +EXPLANATION OF DIACRITICAL MARKS. + + +A Dash ([=]) above the vowel denotes the long sound, as in f[=a]te, [=e]ve, + t[=i]me, n[=o]te, [=u]se. +A Dash and a Dot ([.=]) above the vowel denote the same sound, less + prolonged. +A Curve ([)]) above the vowel denotes the short sound, as in [)a]dd, + [)e]nd, [)i]ll, [)o]dd, [)u]p. + +A Dot ([.]) above the vowel a denotes the obscure sound of a in p[.a]st, + [.a]b[=a]te, Am[)e]ric[.a]. + +A Double Dot (") above the vowel a denotes the broad sound of a in + faether, aelms. + +A Double Dot ([:]) below the vowel a denotes the sound of a in b[a:]ll. + +A Wave (~) above the vowel e denotes the sound of e in h[~e]r. + +A Circumflex Accent (^) above the vowel o denotes the sound of o in born. + +A dot (.) below the vowel u denotes the sound of u in the French language. + +N indicates that the preceding vowel has the French nasal tone. + +G and K denote the guttural sound of ch in the German language. + +th denotes the sound of th in the, this. + +c sounds like s. + +[-c] sounds like k. + +[s.=] sounds like z. + +[=g] is hard as in [=g]et. + +[.g] is soft as in [.g]em. + + +Allegri (ael-l[=a]'gr[=e]). + +Altius caeteris Dei patefecit arcana (ael't[=.e]-[)oo]s k[=i]'t[=.a]-r[=.e]s + d[=a]'[=e] pae-t[=a]-f[=a]'-k[)i]t aer-kae'nae). + +Ambrose ([)a]m'br[=o]z). + +Anacreon ([)a]n-[)a]k'r[=.e]-[)o]n). + +Antonio (aen-t[=o]'n[=e]-[=o]). + +Apollo ([.a]-p[)o]l'l[=o]). + +Aphrodite ([)a]f-r[=.o]-d[=i]'t[=e]). + +Artemis (aer't[=e]-m[)i]s). + +Arimathea ([)A]r-[)i]-m[.a]-th[=e]'[.a]). + +Athena ([)a]-th[=e]'n[.a]). + +Augustine ([a:]'g[)u]s-t[=e]n). + +Aurora ([a:]-r[=o]'r[.a]). + +Austin ([a:]s't[)i]n). + + +Bayliss, Wyke (w[)i]k b[=a]'l[)i]s). + +Bethlehem (B[)e]th'l[=e]h[)e]m). + +Berenson (b[=a]'r[)e]n-s[)o]n). + +Blashfield (bl[)a]sh'f[=e]ld). + +Burckhardt (b[=oo]rk'haert). + + +Caesar (s[=e]'z[.a]r). + +candelabrum (k[)a]n-d[=.e]-l[=a]'br[)u]m). + +Carthage (kaer'th[=a]j). + +Catherine (k[)a]th'[)e]r-[)i]n). + +Caxton (k[)a]ks't[)u]n). + +Cavaliere (kae-vae-l[=e]-[=a]'r[=.a]). + +chiaroscuro (kyae-r[=.o]-sk[=oo]'r[=.o]). + +Cicerone (ch[=e]-ch[=a]-r[=o]'n[=.a]). + +Claudian (cl[a:]'d[)i]-[=.a]n). + +Correggio (k[)o]r-r[)e]d'j[=o]). + +Costus (k[)o]s't[)u]s). + +Comus (k[=o]'m[)u]s). + +Cupid (C[=u]'p[)i]d). + +Cyprus (s[=i]'pr[)u]s). + + +Dalmatian (d[)a]l-m[=a]'sh[.a]n). + +Danae (d[=a]'n[=.a]-[=e]). + +Daphne (d[)a]f'n[=e]). + +Diana (d[=i]-[)a]n'[.a] _or_ d[=i]-[=a]'n[.a]). + + +Ecce Homo ([)e]k'k[)e] _or_ [)e]k's[=.e] h[=o]'m[=o]). + +Egypt ([=e]'j[)i]pt). + +Endymion ([)e]n-d[)i]m'[)i]-[)u]n). + +Ephesus ([)e]f'[=.e]-s[)u]s). + +Ezekiel ([=e]-z[=e]'k[)i]-[)e]l). + + +Galilee (g[)a]l'[)i]-l[=e]). + +Giorno, Il ([=e]l jor'n[=o]). + +Giovanni Evangelista (j[=o]-vaen'n[=e] [=a]-vaen-j[=a]-l[=e]s'tae). + +Guido Reni (gw[=e]'d[=o] r[=a]'n[=e]). + + +Hazlitt (H[)a]z'l[)i]tt). + +Heilige Nacht (h[=i]'l[=.e]G-[)u] naeKt). + +Heaton (h[=e]'t[)u]n). + +Herod (H[)e]r'[)o]d). + +Hesperus (H[)e]s'p[~e]r[)u]s). + +Hippo (H[)i]p'p[=o]). + +Horace (hor'[=.a]s). + + +Ignem gladio ne fodias ([=.e]g'n[)e]m glae'-d[=.e]-[=o] n[=a] + f[=o]'d[=.e]-aes). + +Israel ([)i]z'r[=a]-[)e]l). + + +Jameson (j[=a]'m[)e]-s[)u]n). + +Jerome (j[=e]-r[=o]m' _or_ j[)e]r'[)o]m). + +Jerusalem (J[)e]r[=u]'s[.a]l[)e]m). + +Jordan (Jor'd[.a]n). + +Judaea (j[=u]-d[=e]'[.a]). + + +Keats (k[=e]ts). + +Kugler (k[=oo]g'l[~e]r). + + +Layard (L[=a]y'[.a]rd). + +Lemnian (L[)e]m'n[)i][.a]n). + + +Madonna (M[.a]d[)o]n'n[.a]). + +Magdalene (M[)a]g'd[=a]-l[=e]n). + +Marcella (maer-s[)e]l'[.a]). + +Matthew (m[)a]'th[=u]). + +Mater Dolorosa (m[=a]'t[~e]r d[)o]l-[=.o]-r[=o]'s[.a] _or_ mae't[=a]r + d[=o]-l[=o]-r[=o]'sae). + +Maxentius (m[)a]ks-[)e]n'sh[)i]-[)u]s). + +Mars (Maers). + +Meyer (m[=i]'[~e]r). + +Michelangelo (m[=e]-k[)e]l-aen'j[=a]-l[=o]). + +Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n'). + +Monica (M[)o]n'[)i]c[.a]). + +Moore (m[=o]r _or_ m[=oo]r). + +Moschus (m[)o]s'k[)u]s). + +Morelli (m[=o]-r[)e]l'[=.e]). + + +Nazareth (N[)a]z'[.a]r[)e]th). + +Nicodemus (n[)i]k-[=o]-d[=e]'m[)u]s). + +Noli me tangere (n[=o]'l[=.e] m[=a] taen'g[=.a]-r[=.a] _or_ n[=o]'l[=i] + m[=e] t[)a]n'j[)e]-r[=.e]). + +Notte, La (lae n[=o]t't[=.a]). + +Numidia (N[=u]m[)i]d'[)i][.a]). + + +Palestine (P[)a]l'[)e]st[=i]ne). + +Paolo (Pae'[=o]l[=o]). + +Parma (Paer'mae). + +Patmos (P[)a]t'm[)o]s). + +Paula (p[a:]'l[.a]). + +Pharisee (f[)a]r'[)i]-s[=e]). + +Piacenza (p[=e]-ae-ch[)e]n'dzae). + +Plato (Pl[=a]'t[=o]). + +Pontius Pilate (p[)o]n'sh[)i]-[)u]s p[)i]'l[=a]t). + +putti (p[)oo]t't[=e]). + + +Rabboni (R[)a]bb[=o]'n[)i]). + +Raphael (rae'f[=a]-[)e]l). + +Rex Regum (r[=a]ks r[=a]'g[=oo]m). + +Ricci, Corrado (k[=o]r-rae'd[=o] r[=e]t'ch[=e]). + +Ruskin (R[)u]s'k[)i]n). + + +Sala del Pergolato (sae'lae d[)e]l pair-g[=o]-lae't[=o]). + +Scipione Montino (sh[=e]-p[=e]-[=o]'n[=.a] m[=o]n-t[=e]'n[=o]). + +Scodella (sk[=o]-d[)e]l'lae). + +Sebastian (s[=.e]-b[)a]st'y[.a]n). + +Simmonds (s[)i]m'[)u]ndz). + +Symonds (s[)i]m'[)u]ndz). + +Syria (s[)i]r'[)i]-[.a]). + + +Te Deum (t[=a] d[=a]'[=oo]m _or_ t[=e] d[=e]'[)u]m). + +Titan (t[=i]'t[.a]n). + +Titian (t[)i]sh'[.a]n). + + +Umbrian ([)u]m'br[)i]-[.a]n). + + +Vasari (vae sae'r[=e]). + +Venus (V[=e]'n[)u]s). + +Vere, Aubrey de (a[a:]'br[)i] d[=e] v[=e]r). + +Vulcan (V[)u]l'c[.a]n). + +Vulgate (V[)u]l'g[=a]te). + + +Wordsworth (w[~e]rdz'w[~e]rth). + + +Zebedee (Z[)e]b'[)e]d[=e][=e]). + + * * * * * + + + + + +End of the Project Gutenberg EBook of Correggio, by Estelle M. 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