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+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: 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. Hurll
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