Estelle M. Hurll

“ 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 [62] 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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. ”

“ 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." ”

“ 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 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. ”

“ 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. ”

“ 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 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;" ”

“ 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. [44] 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. ”

“ 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. ”

“ 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. ”

“ 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 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. ”