,illustration3 ,a ,,supposed ,,portrait ,,of ,,correggio ,parma ,gallery ,masterpieces of ,art ,,correggio ,a ,,collection ,,of ,,fifteen ,,pictures ,,and ,a ,,supposed ,,portrait ,,of ,,the ,,painter1 ,,with ,,introduction ,,and ,,interpretation ,,by ,,estelle ,m4 ,,hurll ,,boston ,,and ,,new ,,york ,,houghton ,,mifflin ,,company ,the ,riverside ,press ,cambridge #aija ,,copyright1 #aija1 ,,by ,,houghton1 ,,mifflin ,,co4 99 99 99 99 99 ,,preface ,to the general public the works of ,correggio are much less familiar than those of other ,italian painters4 ,parma lies outside the route of the ordinary tourist1 and the treasures of its gallery and churches are still unsuspected by many4 ,it is hoped that this little collection of pictures may arouse a new interest in the great ,emilian4 ,the selections are about equally divided between the frescoes of ,parma and the easel paintings scattered through the various ,european galleries4 ,,estelle ,m4 ,,hurll4 ,,new ,,bedford1 ,,mass4 ,december1 #aija4 99 99 99 99 99 ,,contents ,,and ,,list ,,of ,,pictures ,a ,,supposed ,,portrait ,,of ,,correggio 7,frontispiece7 ,picture from ,photograph of the original painting ,,introduction ,i4 ,,on ,,correggio',s ,,character ,,as ,,an ,,artist ,,ii4 ,,on ,,books ,,of ,,reference ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,correggio',s ,,life ,v4 ,,list ,,of ,,contemporary ,,painters ,i4 ,,the ,,holy ,,night 7,,detail7 ,picture from ,carbon ,print by ,braun1 ,clement ,co4 ,,ii4 ,st4 ,catherine ,reading ,picture from ,photograph by ,francis ,ellis and ,w4 ,hayward1 ,london ,,iii4 ,,the ,,marriage ,,of ,,st4 ,,catherine ,picture from ,carbon ,print by ,braun1 ,clement ,co4 ,,iv4 ,,ceiling ,,decoration ,,in ,,the ,,sala ,,del ,,pergolato 7,,hall ,,of ,,the ,,vine ,,trellis7 ,picture from ,photograph by ,fratelli ,alinari ,v4 ,,diana ,picture from ,photograph by ,fratelli ,alinari ,,vi4 ,,st4 ,,john ,,the ,,evangelist ,picture from ,photograph by ,fratelli ,alinari ,,vii4 ,,st4 ,,john ,,and ,,st4 ,,augustine ,picture from ,photograph by ,d4 ,anderson ,,viii4 ,,st4 ,,matthew ,,and ,,st4 ,,jerome ,picture from ,photograph by ,fratelli ,alinari of the painting in water color by ,p4 ,toschi ,,ix4 ,,the ,,rest ,,on ,,the ,,return ,,from ,,egypt 7,,madonna ,,della ,,scodella7 ,picture from ,photograph by ,fratelli ,alinari ,x4 ,,ecce ,,homo ,picture from ,carbon ,print by ,braun1 ,clement ,co4 ,,xi4 ,,apostles ,,and ,,genii ,picture from ,photograph by ,fratelli ,alinari of the painting in water color by ,p4 ,toschi ,,xii4 ,,st4 ,,john ,,the ,,baptist ,picture from ,photograph by ,fratelli ,alinari of the painting in water color by ,p4 ,toschi ,,xiii4 ,,christ ,,appearing ,,to ,,mary ,,magdalene ,,in ,,the ,,garden 7,,noli ,,me ,,tangere7 ,picture from ,carbon ,print by ,braun1 ,clement ,co4 ,,xiv4 ,,the ,,madonna ,,of ,,st4 ,,jerome ,picture from ,carbon ,print by ,braun1 ,clement ,co4 ,,xv4 ,,cupid ,,sharpening ,,his ,,arrows 7,,detail ,,of ,,danae7 ,picture from ,photograph by ,fratelli ,alinari ,,xvi4 ,a ,,supposed ,,portrait ,,of ,,correggio ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words 99 99 99 99 99 ,,introduction ,i4 ,,on ,,correggio',s ,,character ,,as ,,an ,,artist4 ,the art of ,correggio was very justly summed up by his first biographer1 ,vasari4 ,after pointing out that in the matter of drawing and composition the artist would scarcely have won a reputation1 the writer goes on to say3 ,to ,correggio belongs the great praise of having attained the highest point of perfection in coloring1 whether his works were executed in oil or in fresco4 ,in another place he writes1 ,no artist has handled the colors more effectually than himself1 nor has any painted with a more charming manner or given a more perfect relief to his figures4 ,color and chiaroscuro were undoubtedly1 as ,vasari indicates1 the two features of his art in which ,correggio achieved his highest triumphs1 and if some others had equalled or even surpassed him in the first point1 none before him had ever solved so completely the problems of light and shadow4 ,not only did he understand how to throw the separate figures of the picture into relief1 giving them actual bodily existence1 but he mastered as well the disposition of light and shade in the whole composition4 ,to quote ,burckhardt1 ,in ,correggio first1 chiaroscuro becomes essential to the general expression of a pictorially combined whole2 the stream of lights and reflections gives exactly the right expression to the special moment in nature4 ,the quality of ,correggio's artistic temperament was essentially joyous4#a ,the beings of his creation delight in life and movement2 their faces are wreathed with perpetual smiles4 ,hence childhood and youth were the painter's favorite subjects4 ,the subtleties of character study did not interest him2 and for this reason he failed in representing old age4 ,he was perhaps at his best among that race of sprites which his own imagination invented1 creatures without a sense of responsibility1 glad merely to be alive4 ,footnote #a3 ,tradition says that the temperament of the man himself was exactly the reverse of that of the artist1 being timid and melancholy4 ,this temperament explains why the artist contented himself with so little variety in his types4 ,we need not wonder at the monotony of the ,madonna's face4 ,she is happy1 and this is all the painter required of her psychically4 ,he took no thought even to make her beautiful3 the tribute he offered her was the technical excellence of his art1--the exquisite color with which he painted flesh and drapery1 the modulations of light playing over cheek and neck4 ,with hair and hands he took especial pains1 and these features often redeem otherwise unattractive figures4 ,in his predilection for happy subjects ,correggio reminds us of ,raphael4 ,the two men shrank equally from the painful4 ,but where the ,umbrian's ideal of happiness was tranquil and serene1 ,correggio's was exuberant and ecstatic4 ,raphael indeed was almost ,greek in his sense of repose1 while ,correggio had a passion for motion4 ,he divines1 knows and paints the finest movements of nervous life1 says ,burckhardt4 ,even when he sought to portray a figure in stable equilibrium1 he unwittingly gave it a wavering pose2 witness the insecurity of ,joseph in the ,madonna della ,scodella1 and of ,st4 ,jerome in the ,madonna bearing his name4 ,usually he preferred some momentary attitude caught in the midst of action4 ,in this characteristic the painter was allied to ,michelangelo1 the keynote of whose art is action4 ,it is a curious fact that two artists of such opposed natures--the one so light-hearted1 the other burdened with the prophet's spirit--should have so much in common in their decorative methods4 ,both understood the decorative value of the nude1 and found their supreme delight in bodily motion4 ,in a common zeal for exploiting the manifold possibilities of the human figure1 the two fell into similar errors of exaggeration4 ,in point of design ,correggio cannot be compared with ,michelangelo4 ,he was utterly incapable of the sweeping lines characteristic of the great ,florentine4 ,he seldom achieved any success in the flow of drapery1 and often his disposition of folds is very clumsy4 ,it is interesting to fancy what ,correggio's art might have been had he been free to choose his own subjects4 ,limited1 as he was1 in his most important commissions1 to the well-worn cycle of ecclesiastical themes1 he could not work out all the possibilities of his genius4 ,nevertheless1 he infused into the old themes an altogether new spirit1 the spirit of his own individuality4 ,it is a spirit which we call distinctly modern1 yet it is as old as paganism4 ,among the works of the old ,italian masters1 ,correggio's art is so anomalous that it has inevitably called forth detractors4 ,what to his admirers is mere childlike sweetness is condemned as sentimentality1 innocent playfulness as frivolity1 exuberance of vitality as sensuality4 ,certainly there is nothing didactic in his art4 ,space and light and motion were what ,antonio ,allegri of ,correggio most longed to express1#b and to these aims he subordinated all motives of spiritual significance4 ,one of his severest critics 7,burckhardt7 has conceded that he is the first to represent entirely and completely the reality of genuine nature4 ,he1 then1 who is a lover of genuine nature in her most subtle beauties of space and light and motion1 cannot fail to delight in ,correggio4 ,footnote #b3 ,e4 ,h4 ,blashfield in ,italian ,cities4 ,,ii4 ,,on ,,books ,,of ,,reference4 ,the first biographer of ,correggio was ,vasari1 in whose ,lives of the ,painters1 ,sculptors1 and ,architects is included a brief account of this painter4 ,the student should read this work in the last edition annotated by ,e4 ,h4 and ,e4 ,w4 ,blashfield and ,a4 ,a4 ,hopkins4 ,passing over the studies of the intervening critics1 ,julius ,meyer's biography may be mentioned next1 as an authoritative work1 practically alone in the field for some twenty-five years4 ,this was translated from the ,german by ,m4 ,c4 ,heaton1 and published in ,london in #ahgf4 ,finally1 the recent biography by ,signor ,corrado ,ricci 7translated from the ,italian by ,florence ,simmonds1 and published in #ahif7 may be considered almost definitive4 ,it is issued in a single large volume1 profusely illustrated4 ,the author is the director of the galleries of ,parma1 and has had every opportunity for the study of ,correggio's works and the examination of documents bearing upon his life4 ,general handbooks of ,italian art giving sketches of ,correggio's life and work are ,kugler's ,handbook of the ,italian ,schools1 revised by ,a4 ,h4 ,layard1 and ,mrs4 ,jameson's ,early ,italian ,painters1 revised by ,estelle ,m4 ,hurll4 ,for a critical estimate of the art of ,correggio a chapter in ,burckhardt's ,cicerone is interesting reading1 but the book is out of print and available only in large libraries4 ,in ,italian ,cities1 by ,e4 ,h4 and ,e4 ,w4 ,blashfield1 a delightful chapter on ,parma describes ,correggio's works and analyzes his art methods4 ,morelli's ,italian ,painters contains in various places some exceedingly important contributions to the criticism of ,correggio's works4 ,the author's repudiation of the authenticity of the ,reading ,magdalen of the ,dresden ,gallery has been accepted by all subsequent writers4 ,comments on ,correggio are found in ,symonds's volume on ,the ,fine ,arts in the series ,the ,renaissance in ,italy1 and are also scattered through the pages of ,ruskin's ,modern ,painters and ,hazlitt's ,essays on the ,fine ,arts4 ,the volume on ,correggio in the series ,great ,masters in ,painting and ,sculpture is valuable chiefly for a complete list of ,correggio's works4 ,the text is based on ,ricci4#c ,footnote #c3 ,as this book goes to press ,bernard ,berenson's ,the ,study and ,criticism of ,italian ,art makes its appearance4 ,a portion of it is devoted to the study of ,correggio4 ,,iii4 ,,historical ,,directory ,,of ,,the ,,pictures ,,of ,,this ,,collection4 ,portrait frontispiece4 ,from a photograph of an alleged portrait of ,correggio in the ,parma ,gallery4 #a4 ,the ,holy ,night47,la ,notte47 7,detail47 ,painted at the order of ,alberto ,pratoneri for the altar of his chapel in the church of ,s4 ,prospero1 ,reggio4 ,agreement signed ,october #aj1 #aebb4 ,stolen from the church ,may1 #afdj1 and taken to ,modena4 ,now in the ,dresden ,gallery4 ,size of whole picture3 #h ft4 #e in4 by #f ft4 #b in4 #b4 ,st4 ,catherine ,reading4 ,conjectural date1 #aebf-aebh4 ,in ,hampton ,court ,gallery4 ,size3 #b ft4 #a in4 by #a ft4 #h in4 #c4 ,the ,marriage of ,st4 ,catherine4 ,date1 according to ,meyer1 #aeag-aeai2 according to ,ricci1 after #aebb4 ,painted for the ,grillenzoni family of ,modena4 ,after several transfers it came into the possession of ,cardinal ,mazarin1 from whose heirs it was acquired for ,louis ,,xiv4's collection and hence became a permanent possession of the ,louvre ,gallery1 ,paris4 ,size3 #c ft4 #e-a_/c in4 by #c ft4 #d in4 #d and #e4 ,ceiling ,decoration1 and ,diana1 in the ,sala del ,pergolata1 ,convent of ,s4 ,paolo1 ,parma4 ,frescoes painted in #aeah4 #f1 #g1 and #h4 ,st4 ,john the ,evangelist1 ,st4 ,john and ,st4 ,augustine1 ,st4 ,mark and ,st4 ,jerome4 ,frescoes in the church of ,s4 ,giovanni ,evangelista1 ,parma4 ,painted #aebj-aebe4 #i4 ,the ,rest on the ,return from ,egypt4 7,la ,madonna della ,scodella47 ,according to ,pungileoni painted #aebg-aebh2 according to ,ricci1 #aebi-aecj4 ,the frame containing the picture is supposed to have been designed by ,correggio himself4 ,it bears the date #aecj1 when the picture was placed in the church of ,s4 ,sepolcro1 ,parma4 ,taken as ,french booty in #agif1 but returned to ,parma in #ahaf4 ,now in the ,parma ,gallery4 ,size3 #g ft4 #c in4 by #d ft4 #f in4 #aj4 ,ecce ,homo4 ,according to ,ricci1 painted during a visit to ,correggio1 #aeba-aebb2 probably first belonged to the ,counts ,prati1 of ,parma4 ,in the seventeenth century there were three pictures of the subject in ,italy claiming to be the original4 ,this picture was formerly in the ,colonna family2 now in the ,national ,gallery1 ,london4 ,size3 #c ft4 #b-a_/b in4 by #b ft4 #g-a_/b in4 #aa and #ab4 ,apostles and ,genii1 and ,st4 ,john the ,baptist4 ,frescoes in the ,cathedral of ,parma4 ,painted #aebd-aecj4 #ac4 ,christ appearing to ,mary ,magdalene in the ,garden4 7,noli me tangere47 ,assigned by ,ricci to #aebd-aebf4 ,described by ,vasari as the property of the ,ercolani family of ,bologna4 ,passing from one owner to another1 it was finally presented to ,philip ,,iv4 of ,spain1 and is now in the ,prado ,gallery1 ,madrid4 ,size3 #a ft4 #c-a_/c in4 by #a ft4 #f-a_/b in4 #ad4 ,the ,madonna of ,st4 ,jerome4 7,il ,giorno47 ,ordered in #aebc by ,donna ,briseide ,colla1 for the church of ,s4 ,antonio1 ,parma4 ,painted #aebg-aebh1 according to ,ricci4 ,after the destruction of this church it was placed in the ,cathedral for safety4 ,seized by ,napoleon in #agif4 ,finally returned to ,parma1 and now in the ,parma ,gallery4 ,size3 #d ft4 #h in4 by #f ft4 #aj in4 #ae4 ,cupid sharpening his ,arrow4 7,detail of ,danae47 ,ordered 7#aecj-aecc7 by ,federigo ,,ii41 ,duke of ,mantua1 as a gift for the ,emperor ,charles ,v4 ,after passing through many hands it came in #ahbc into the possession of the ,borghese family1 and is now in the ,borghese ,gallery1 ,rome4 ,size of whole picture1 #e ft4 #d in4 by #f ft4 #e in4 ,,iv4 ,,outline ,,table ,,of ,,the ,,principal ,,events ,,in ,,correggio',s ,,life4 ,compiled from ,ricci's ,correggio1 to which the references to pages apply4 #adid4 ,antonio ,allegri born at ,correggio4 #aeaa-aeac4 ,probably in ,mantua 7p4 #fi74 #aeae4 ,madonna of ,st4 ,francis 7p4 #id74 #aeah4 ,in ,parma executing the frescoes of ,san ,paolo1 ,april-,december 7p4 #aeb74 #aebj4 ,invitation to ,parma from the ,benedictines 7p4 #aec74 ,marriage with ,girolama ,merlini 7p4 #ahe74 #aebj-aebe4 ,at work on frescoes of ,s4 ,giovanni ,evangelista1 ,parma1 with interruptions as noted below 7pp4 #ahi-aie74 ,july1 #aeba-,spring1 #aebb4 ,in ,correggio 7pp4 #aid1 #aie71 and probable execution of the ,ecce ,homo1 ,christ in ,garden1 and ,noli me tangere 7p4 #bbf74 #aeba4 ,birth of son ,pomponio1 ,september #c 7p4 #ahe74 #aebb4 ,visit to ,reggio and commission for the ,nativity 7,la ,notte7 ,october 7pp4 #aie1 #bid74 ,commission for frescoes of ,parma ,cathedral1 ,november 7p4 #bej74 #aebc4 ,visit in ,correggio 7p4 #aie74 ,order for ,madonna of ,st4 ,jerome 7p4 #bgh74 #aebd4 ,last payment for frescoes of ,s4 ,giovanni 7p4 #aij74 ,birth of daughter ,francesca ,letizia1 ,december #f 7p4 #ahe74 #aebd-aecj4 ,work on frescoes of the ,parma ,cathedral1 interrupted by visits to ,correggio1 as noted below 7p4 #bgc74 #aebe4 ,visits to ,correggio in ,february and ,august 7p4 #bgd74 ,madonna of ,st4 ,sebastian painted for ,confraternity of ,st4 ,sebastian at ,modena 7p4 #bge74 #aebf4 ,birth of daughter ,caterina ,lucrezia 7p4 #ahe74 #aebg4 ,visits in ,correggio 7p4 #bgd74 ,circa #aebh4 ,birth of daughter ,anna ,geria 7p4 #ahe74 #aebh4 ,visit in ,correggio in summer 7p4 #bgd74 #aebi4 ,death of wife 7p4 #ahe74 #aecj-aecd4 ,in ,correggio 7p4 #cjg74 ,mythological pictures for ,federigo ,gonzaga 7p4 #caa74 #aecd4 ,death of ,allegri1 ,march #e 7p4 #cbf74 ,v4 ,,list ,,of ,,contemporary ,,italian ,,painters4 ,vincenzo ,catena1 ,venetian1 #adgj-aecb4 ,michelangelo1 ,florentine1 #adge-aefd4 ,lorenzo ,lotto1 ,venetian1 circa #adgf-aeee4 ,bazzi 7,il ,sodoma71 ,sienese1 #adgg-aedi4 ,giorgione1 ,venetian1 #adgg-aeaj4 ,titian1 ,venetian1 #adgg-aegf4 ,palma ,vecchio1 ,venetian1 #adhj-aebh4 ,lotto1 ,venetian1 #adhj-aeeh4 ,raphael1 ,umbrian1 #adhc-aebj4 ,pordenone1 ,venetian1 #adhd-aeci4 ,bagnacavallo1 ,bolognese1 #adhd-aedb4 ,gaudenzio ,ferrari1 ,milanese1 #adhd-aedi4 ,sebastian del ,piombo1 ,venetian1 #adhe-aedg4 ,andrea del ,sarto1 ,florentine1 #adhf-aeca4 ,bonifazio ,veneziano1 ,venetian1 circa #adij-aedj4 ,cima da ,conegliano1 ,venetian1 #adic-aeag4 ,pontormo1 ,florentine1 #adic-aeeh4 ,moretto1 ,brescian1 #aejj-aedg4 ,bronzino1 ,florentine1 #aejb-aegb4 ,basaiti1 ,venetian1 first record1 #aejc-last record1 #aebj4 ,i ,,the ,,holy ,,night 7,,la ,,notte7 7,detail7 ,in the northern part of ,italy is the little town of ,correggio1 which gave its name to the painter whose works we are to study4 ,his real name was ,antonio ,allegri1 but in the sixteenth century a man would often be called by a nickname referring to some peculiarity1 or to his birthplace4 ,when ,allegri went to ,parma he was known as ,antonio da ,correggio1 that is1 ,antonio from ,correggio1 and the name was then shortened to ,correggio4 ,a large part of ,correggio's work was mural decoration1 painted on the surface of the plastered wall4 ,besides such frescoes he painted many separate pictures1 mostly of sacred subjects to be hung over the altars of churches4 ,the choice of subjects was much more limited in his day than now1 and1 with the exception of a few mythological paintings1 all ,correggio's themes were religious4 ,the subject most often called for was that of the ,madonna and ,child4 ,madonna is the word1 meaning literally ,my ,lady1 used by the ,italians when speaking of ,mary1 the mother of ,jesus4 ,the ,madonna and ,child is then a picture of the mother ,mary holding the ,christ-child4 ,our illustration is from such a picture called ,la ,notte1 the ,italian for ,the ,night4 ,the night meant by the title is that on which ,jesus was born in ,bethlehem of ,judaea4 ,it was at a time known in history as the ,augustan ,age1 when ,rome was the great world-power4 ,judaea was only an obscure province of the vast ,roman ,empire1 but here was the origin of the influence which was to shape later history4 ,the coming of ,jesus brought a new force into the world4 ,the story of his infancy has been made familiar by the four ,evangelists4 ,he was born in surroundings which1 in ,roman eyes1 were fit only for slaves4 ,mary and ,joseph had come up from their own home to ,bethlehem to pay the taxes exacted at ,rome4 ,the town was full of people on the same errand1 and there was no room for them in the inn4 ,so it came about that the new-born babe was wrapped in swaddling clothes and laid in a manger used for feeding cattle4 ,while he lay in this strange cradle his birth was made known by a vision of angels to some shepherds on the neighboring hillsides4 ,at once they betook themselves joyfully to ,bethlehem1 the first to do honor to the new-born king4 ,these homely visitors are gathered about the manger in ,correggio's picture4 ,the dark night is without1 but a dazzling white light shines from the ,holy ,child4 ,illustration3 ,,the ,,holy ,,night 7,,detail7 ,dresden ,gallery ,our illustration shows only the centre of the picture1 where the mother leans over her babe4 ,the little form lies on a bundle of hay1 completely encircled by her arms4 ,the bend of her elbow makes a soft pillow for his head2 her hands hold him fast in the snug nest4 ,with brooding tenderness she regards the sleeping child4 ,a white cloth is wrapped loosely about the baby's body--the swaddling band1 which1 when tightly drawn1 is to hold the figure straight4 ,the fingers of one hand peep out from the folds1 and one little foot is free4 ,for the rest we see only the downy top of the baby's head and one plump shoulder4 ,the little figure glows lite an incandescent body1 and the mother's face is lighted as if she were bending over a fire4 ,it is a girlish face1 for we are told that ,mary was a very young mother4 ,the cares of life have not yet touched the smooth brow4 ,in her happiness she smiles fondly upon her new treasure4 ,we have no authentic description of ,mary1 the mother of ,jesus1 but it is pleasant to try to picture her in imagination4 ,as her character was a model of womanliness1 it is natural to believe her face correspondingly beautiful4 ,the old masters spent their lives in seeking an ideal worthy of the subject1 and each one conceived her according to his own standards of beauty4 ,correggio's chief care was for the hair and hands1 which he painted1 as we see here1 with exquisite skill4 ,he was usually less interested in the other features1 and the ,madonna of our picture is exceptionally lovely among his works of this kind4 ,the picture of ,la ,notte illustrates very strikingly an artistic quality for which ,correggio is famous4 ,this is chiaroscuro1 or the art of light and shadow1--the art by which the objects and figures of a picture are made to seem enveloped in light and air1 as in the actual world4 ,the contrast between the bright light in the centre and the surrounding darkness gives vivid reality to the figures4 ,there is also a symbolic meaning in the lighting of the picture4 ,christ is the light of the world2 hence his form is the source of illumination4 ,our picture was originally called by the simple title of ,the ,nativity4 ,then the ,italians1 struck by the power with which the effect of midnight was produced1 called it ,la ,notte1 ,the ,night4 ,when it came to a ,german gallery the ,germans called it ,die ,heilige ,nacht1 ,the ,holy ,night4 ,an old ,german ,christmas carol interprets it so perfectly that it seems as if the author must have known the picture4 ,these are the verses3-- ,silent night6 ,holy ,night6 ,all is calm1 all is bright ,round you1 virgin mother and child2 ,holy infant1 so tender and mild1 ,sleep in heavenly peace1 ,sleep in heavenly peace4 ,silent ,night6 ,holy ,night6 ,shepherds quake at the sight4 ,glories stream from ,heaven afar1 ,heavenly hosts sing alleluia4 ,christ the ,saviour is born6 ,christ the ,saviour is born6 ,silent ,night6 ,holy ,night6 ,son of ,god1 love's pure light ,radiant beams from ,thy holy face ,with the dawn of redeeming grace1 ,jesus1 ,lord1 at thy birth1 ,jesus1 ,lord1 at thy birth4 ,,ii ,,st4 ,,catherine ,,reading ,the story of ,st4 ,catherine is very quaintly told in the old legend4#d ,she was the daughter of a noble and prudent king1 named ,costus1 who reigned in ,cyprus at the beginning of the third century1 and had to his wife a queen like to himself in virtuous governance4 ,though good people according to their light1 they were pagans and worshippers of idols4 ,footnote #d3 ,the life of ,st4 ,catherine is related in the ,golden ,legend4 ,see ,caxton's translation in the ,temple ,classics1 volume vii41 page #a4 ,mrs4 ,jameson also gives an outline of the story in ,sacred and ,legendary ,art1 p4 #dei4 ,even in her babyhood the child ,catherine was so fair of visage that all the people rejoiced at her beauty4 ,at seven years of age she was sent to school1 where she drank plenteously of the well of wisdom4 ,her father was so delighted with her precocity that he had built a tower containing divers chambers where she might pursue her studies4 ,seven masters were engaged to teach her1 the best and wisest in conning that could be found4 ,so rapid was their pupil's progress that she soon outstripped them in knowledge1 and from being her masters they became her disciples4 ,when the princess was fourteen1 her father died1 leaving her heir to his kingdom4 ,a parliament was convened1 and the young queen was crowned with great solemnity4 ,then arose a committee of lords and commons1 petitioning her to allow them to seek some noble knight or prince to marry her and defend the kingdom4 ,now ,catherine had secretly resolved not to marry1 but she answered with a wisdom not learned altogether from books4 ,she agreed to marry if they would bring her a bridegroom possessing certain qualifications which she knew were impossible to fulfil4 ,this silenced the counsellors1 and she continued to reign alone4 ,in the course of time ,queen ,catherine became a ,christian and devoted herself to works of religion and charity4 ,under her teaching many of her people were converted to the faith4 ,it was a happy kingdom until the ,emperor ,maxentius chanced to visit the royal city4 ,he was a tyrant who persecuted ,christians4 ,upon his arrival he ordered public sacrifices to idols1 and all who would not join in the heathen ceremony were slain4 ,then ,catherine went boldly to meet the emperor and set forth to him the errors of paganism4 ,though confounded by her eloquence he was not to be convinced by the words of a mere woman4 ,accordingly he summoned from divers provinces fifty masters which surmounted all mortal men in worldly wisdom4 ,they were to hold a discussion with the queen and put her to confusion4 ,for all their arguments1 however1 ,catherine had an answer4 ,so complete was her victory that the entire company declared themselves ,christians4 ,the angry emperor caused them all to be burned and cast ,catherine into prison4 ,illustration3 ,,st4 ,,catherine ,,reading ,hampton ,court ,gallery1 ,london ,even here she continued her good works1 converting the empress and a prince who came to visit her4 ,a new torment was then devised for her4 ,iron wheels were made1 bound with sharp razors1 and she was placed between these while they were turned in opposite directions4 ,and anon as this blessed virgin was set in this torment1 the angel of the ,lord brake the wheels by so great force that it slew four thousand paynims4 ,maxentius then commanded that she should be beheaded1 and ,st4 ,catherine went cheerfully to her death4 ,other virgin martyrs may have been as good and as beautiful as ,st4 ,catherine1 but none were so wise4 ,we know her in our picture by the book she holds4 ,eager to acquire all the treasures of knowledge1 she fixes her eyes on the page1 absorbed in her occupation4 ,already she has read more than half the thick volume1 smiling with quiet enjoyment as she reads4 ,there is little in the face to suggest the scholar or the bookworm4 ,were this a modern picture1 we should fancy it a young lady reading her favorite poet4 ,as it is1 however1 we must believe that the book is some work by ,plato or another of the ancient writers whom ,st4 ,catherine could quote so readily4 ,we need not wonder that she does not knit her brow over any difficult passages4 ,what might be hard for another to grasp is perfectly clear to her understanding4 ,the beautiful hair coiled over her head is the only coronet the princess wears4 ,there is no sign of her royalty1 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 shoulders4 ,as we study the position of the figure we see that the left arm rests on the rim of a wheel1 making a support for the hand holding the book4 ,the wheel is the emblem most frequently associated with ,st4 ,catherine1 as the reminder of the tortures inflicted by ,maxentius4 ,the palm branch caught in the fingers of the left hand is the symbol used alike for all the martyrs4 ,the reference is to that passage in the book of ,revelation which describes the saints standing before the throne with palms in their hands4#e ,footnote #e3 ,revelation vii4 #i4 ,it is pleasant to believe that ,correggio took unusual pains with this picture of ,st4 ,catherine4 ,the story of the lovely young princess seems to have appealed to his imagination1 and he has conceived an ideal figure for her character4 ,the exquisite oval of the face1 the delicate features1 and the beautiful hair make this one of the most attractive faces in his works4 ,the light falls over the right shoulder1 casting one side of the face in shadow4 ,the modulations of light on the chin and neck1 and the gradation in the shadow cast by the book on the hand1 show ,correggio's mastery of chiaroscuro4 ,,iii ,,the ,,marriage ,,of ,,st4 ,,catherine ,at the time of her coronation1 ,st4 ,catherine knew nothing of the ,christian faith1 but she had set for herself an ideal of life she was determined to carry out4 ,it was her firm resolve not to marry4 ,her counsellors argued that1 as she was endowed with certain qualities above all creatures1 she ought to marry and transmit these gifts to posterity4 ,the attributes they enumerated were1 first1 that she came of the most noble blood in the world2 second1 that she was the richest living heiress2 third1 that she was the wisest1 and1 fourth1 the most beautiful of all human beings4 ,the young queen replied that she would marry only one who possessed corresponding qualities4 ,he must be1 she said1 so noble that all men shall do him worship1 so rich that he pass all others in riches1 so full of beauty that angels have joy to behold him2 and finally1 he must be absolutely pure in character1 so meek that he can gladly forgive all offences4 ,if ye can find such an one1 she declared1 ,i will be his wife with all mine heart1 if he will vouchsafe to have me4 ,of course all agreed that there never was and never would be a man such as she described1 and the matter was at an end4 ,to ,catherine1 however1 there came a strange conviction that her ideal was not an impossible one4 ,all her mind and heart were filled with the image of the perfect husband she had conceived4 ,she continually mused how she might find him4 ,while she thought on these things1 an old hermit came to her one day saying that he had had a vision1 and had been sent with the message that her chosen bridegroom awaited her4 ,catherine at once arose and followed the hermit into the desert4 ,here it was revealed to her that the perfect man she had dreamed of was ,jesus1 the ,christ1 and to this heavenly bridegroom she was united in mystic marriage4 ,returning to her palace she wore a marriage ring1 as the perpetual token of this spiritual union4 ,the story explains the subject of our picture4 ,the ,christ-child1 seated on his mother's knee1 is about to place a ring on ,st4 ,catherine's finger1 while ,st4 ,sebastian looks on as a wedding guest4 ,the infant bridegroom performs his part with delight4 ,he holds the precious circlet between the thumb and forefinger of his right hand1 and with his left singles out ,st4 ,catherine's ring finger4 ,the bride's hand rests on the mother's open palm1 held beneath as a support4 ,illustration3 ,,the ,,marriage ,,of ,,st4 ,,catherine ,the ,louvre1 ,paris ,all are watching the child's motions intently2 the mother with quiet pleasure1 ,st4 ,sebastian with boyish curiosity1 and ,st4 ,catherine herself with sweet seriousness4 ,any comparison of the scene with a human marriage is set aside by the fact that the bridegroom is an infant4 ,the ceremony is of purely spiritual significance1 a true sacrament4 ,st4 ,catherine's expression and manner are full of humility1 as in a religious service4 ,the ,christ-child is a robust little fellow whose chief beauty is his curls4 ,he has the large head which usually shows an active temperament1 and we fancy that he is somewhat masterful in his ways4 ,we shall see the same boy again in the picture called ,the ,madonna of ,st4 ,jerome4 ,the mother1 too1 has a face which soon becomes familiar to the student of ,correggio's works4 ,the eyes are full1 the nose is rather prominent1 the mouth large and smiling1 and the chin small4 ,even ,st4 ,catherine is of the same type1 except that her face is cast in a smaller and more delicate mould4 ,her hair is arranged precisely like that of the ,madonna1 the braids bound about the head1 preserving the pretty round contour4 ,both women wear dresses cut with round low necks1 showing their full throats4 ,st4 ,catherine's left hand rests upon a wheel with spiked rim1 which1 as we have seen1 is her usual emblem4 ,another emblem is the sword1 whose hilt projects from behind the wheel4 ,this was the instrument of her execution4 ,special prominence is given in the picture to three sets of hands4 ,the skill with which they are painted is noted by critics as one of the many artistic merits of the work4 ,one of ,browning's poems#f describes an artist's meditations while trying to draw a hand4 ,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 sake4 ,such must have been ,correggio's study to enable him to produce the beautiful hands we see here4 ,footnote #f3 ,beside the ,drawing ,board4 ,st4 ,sebastian is a figure not to be overlooked4 ,we may find his like among the genii of the ,parma ,cathedral1 which we are to study4 ,he is a joyous being to whom it is good merely to be alive4 ,the elfin locks falling about his face make him look like some creature of the woods4 ,we are reminded most of the faun of the ,greek mythology4 ,the arrows in his hand suggest some sylvan sport1 but in reality they are the emblem of his martyrdom4 ,according to tradition the young saint was bound by his enemies to a tree1 and shot with arrows4 ,behind the group stretches a bit of open country1 and if we look closely we can discern here two groups of small figures4 ,one represents the martyrdom of ,st4 ,sebastian1 and the other1 the execution of ,st4 ,catherine4 ,we may suppose that such gruesome subjects were not the choice of the painter4 ,it is probable that they were dictated by his patrons1 and in obeying orders he made the figures as inconspicuous as possible4 ,,iv ,,ceiling ,,decoration ,,in ,,the ,,sala ,,del ,,pergolato 7,,hall ,,of ,,the ,,vine ,,trellis7 7,s4 ,paolo1 ,parma7 ,in the time of ,correggio the convent of ,s4 ,paolo 7,st4 ,paul7 in ,parma was in charge of the abbess ,giovanna da ,piacenza1 who had succeeded an aunt in this office in #aejg4 ,she was a woman of liberal opinions1 who did not let the duties of her position entirely absorb her4 ,she still retained some social connections and was a patroness of art and culture4 ,the daughter of a nobleman1 she was a person of consequence1 whose private apartments were such as a princess might have4 ,already a well known painter of the day had decorated one of her rooms when she heard of the rising artist ,correggio4 ,probably advised by her relative the ,cavaliere ,scipione ,montino1 she commissioned the young painter to fresco a second room4 ,the decorative scheme he designed is very beautiful and elaborate4 ,the square ceiling is completely covered with a simulated trellis1 embowered in foliage and flowers1 and pierced by oval windows through which children are seen at play4 ,a circle in the centre contains the family arms of the abbess1 a shield on which three crescent moons are set diagonally4 ,from this centre1 as from the hub of a wheel1 a series of gilded ribs radiate towards the sides1 cutting the whole space into triangular sections whose surfaces are slightly hollowed4 ,the oval windows of the trellis open in these sections1 one in each triangle1 and sixteen in all4 ,above every window hangs a bunch of fruit1 seemingly suspended from the centre by ribbons fancifully braided about the ribs4 ,the outer edge of the design1 where the ceiling joins the walls1 is finished by a series of sixteen lunettes or semicircles running around the square1 one in each section4 ,the frieze around the side walls simulates a narrow scarf caught up in festoons between ornamented capitals formed of rams' heads4 ,the remaining decoration of the room is on the cap of the chimney1 and represents the goddess ,diana setting forth for the chase4 ,this picture furnishes the subject of the children's games in the lattice bower4 ,the little sprites are attendants of the goddess1 playing in a mimic hunt4 ,two or three may be seen through every window1 busy and happy in their innocent sport4 ,one is the delighted possessor of a quiver of arrows1 from which he draws a shaft4 ,others play with the hounds1 pulling them hither and thither at their will4 ,a group of five find the hunting-horn an amusing plaything1 and good-humoredly strive together over the treasure4 ,illustration3 ,,ceiling ,,decoration ,,in ,,the ,,sala ,,del ,,pergolato ,convent of ,s4 ,paolo1 ,parma ,our illustration shows a quarter section of the ceiling1 from which we can in imagination reconstruct the whole diagram4#g ,let us see what the children are doing in this corner of the lattice4 ,at the window directly in front of us a little fellow proudly exhibits a stag's head as a trophy of the chase4 ,just behind his shoulder a merry companion1 peeps out1 and lower down1 on the other side1 appears the head of an animal like a doe4 ,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 stag4 ,the third boy of the group has for the moment lost interest in the play1 his attention being attracted by something going on outside4 ,now comes a boy passing by the next window1 who hastens to join the party we have just seen4 ,his playfellow wants to go the other way1 and tries to detain him4 ,come1 he says1 seizing him by the arm1 there's no fun over there4 ,see what ,i have found4 ,footnote #g3 ,a quarter section1 mathematically exact1 is of course1 square in shape4 ,in our illustration the lower part of two lunettes is cut off4 ,we are somewhat at a loss to know just what mischief the baby in the next window has been plotting4 ,he grasps with both hands a tall staff1 which may be a hunting-spear1 or perhaps a pole with which he hopes to reach the fruit4 ,in some way he has managed to get both feet through the window1 and is now in a precarious position1 half in and half out4 ,his companion tries to draw him in2 but whether he is alarmed at the danger1 or is himself eager to get the pole1 we cannot tell4 ,the lunettes of the ceiling are painted in gray1 framed in borders of sea-shells4 ,they are made to simulate niches containing sculptured figures with some allegorical or mythological meaning4 ,in our illustration we see first the figure of ,chastity1 holding in her right hand the dove1 which is the emblem of innocence4 ,the dress is the long1 plain tunic seen in ,greek sculpture1 and the thin stuff of which it is made flows in graceful lines about the form4 ,we are reminded of ,milton's lines in ,comus3-- ,so dear to ,heav'n is saintly ,chastity1 ,that when a soul is found sincerely so1 ,a thousand liveried angels lacky her1 ,driving far off each thing of sin and guilt1 ,and in clear dream and solemn vision1 ,tell her of things that no gross ear can hear4 ,the next figure is similar in character and meaning4 ,it is ,virginity1 holding in her right hand the lily1 which is the symbol of purity4 ,the other two figures1 of which we see only the upper portion1 are ,fortune1 with a cornucopia1 and the helmeted ,athena1 with spear and torch4 ,at the death of the abbess ,giovanna in #aegd1 the convent of ,s4 ,paolo entered upon a period of severe ecclesiastical discipline4 ,for more than two centuries it was impossible for outsiders to gain admittance1 and the ,sala del ,pergolato was a sealed treasure4 ,finally1 in #agid1 the ,academy of ,parma gained permission to examine ,correggio's paintings4 ,after the suppression of the convent the room was thrown open to the public1 and the building is now used for a school4 ,v ,,diana ,in classic mythology1 ,diana1 the ,greek ,artemis1 was the goddess of the moon1 twin sister of the sun-god ,apollo4 ,as the rays of moonlight seem to pierce the air like arrows1 ,diana1 like ,apollo1 was said to carry a quiver of darts2 the slender arc of the crescent moon was her bow4 ,thence it was natural to consider her fond of hunting1 and she became the special patroness of the chase and other sylvan sports4 ,her favorite haunts were groves and lakes1 and she blessed the increase of field and meadow4 ,she was mistress of the brute creation1 and showed special favor to the bear1 the boar1 the dog1 the goat1 and the hind4 ,the poet ,wordsworth has described how the ancient huntsman regarded the goddess3-- ,the nightly hunter lifting up his eyes ,towards the crescent moon1 with grateful heart ,called on the lovely wanderer who bestowed ,that timely light to share his joyous sport2 ,and hence a beaming goddess with her nymphs ,across the lawn and through the darksome grove 7,not unaccompanied with tuneful notes ,by echo multiplied from rock or cave7 ,swept in the storm of chase1 as moon and stars ,glance rapidly along the clouded heaven ,when winds are blowing4#h ,footnote #h3 ,in ,the ,excursion4 ,there were other pleasant beliefs about ,diana such as might be connected with the thought of the moon4 ,as the moonlight cheers the traveller on his way and enters the chamber of the sick and lonely1 so ,diana was said to watch with the sick and help the unfortunate4 ,the pale1 white light of the moon is a natural symbol of purity1 hence ,diana was a maiden goddess above all allurements of love4 ,her worship was conducted with splendid rites in various ancient cities4 ,the temple built in her honor at ,ephesus was famous as one of the seven wonders of the world4 ,the ancients naturally liked to fancy the goddess very beautiful4 ,the ,greek poet ,anacreon called her the goddess of the sun bright hair4 ,the ,english ,keats1 who delighted in the old ,greek myths1 has also described the charms of the haunter chaste of river sides1 and woods and heathy waste4#i ,she had pearl round ears1 white neck1 orbed brow1 blush tinted cheeks1 and a paradise of lips and eyes4 ,footnote #i3 ,in ,endymion4 ,see also ,lowell's ,endymion for a description of ,diana4 ,in our picture the moon goddess is mounting her car for the nightly course across the sky4#aj ,though she seems to be but just springing to her place1 with bending knee1 she is already speeding on her way4 ,footnote #aj3 ,as ,apollo drives the sun chariot across the sky by day4 ,compare ,guido ,reni's ,aurora4 ,how tremulous-dazzlingly the wheels sweep ,around their axle4 ,her quiver1 well filled with the bow and arrows1 hangs at her back1 held by the strap bound over her breast4#aa ,the crescent moon gleams above her brow4 ,the vehicle is the small two-wheeled chariot used among the ,romans1 scarcely larger than a chair4 ,only the hind legs of the steeds may be seen1 but we fancy them to be two white does4 ,footnote #aa3 ,it seems odd that with this full quiver the subject should be called by some ,diana's ,return from the ,chase4 ,illustration3 ,,diana ,convent of ,s4 ,paolo1 ,parma ,the huntress turns her face earthward1 lifting a fluttering veil high in her left hand4 ,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 uncovered1 dazzling the beholder's sight4 ,it is with a bright1 cheerful countenance that she beams upon her worshippers4 ,a sense of courage and exhilaration is expressed in her spirited bearing4 ,with her right hand she points forward1 as if calling us to join in the sport4 ,in the swiftness of her motion her unbound hair and filmy garments blow out behind her4 ,she is a country-bred maiden1 with plump neck and round arms1 and her chief charm is her buoyant vitality4 ,her open face1 with eyes set rather far apart1 is the index of her nature4 ,her free life in the woods has developed a well poised womanhood4 ,fear is unknown to her2 pain and disease come not near her4 ,rejoicing in immortal youth and strength1 she speeds nightly through the sky1 the messenger of light and comfort4 ,as we have seen in the preceding chapter1 the picture of ,diana is painted in fresco on the chimney cap1 or hood1 over the great fireplace in the ,hall of the ,vine ,trellis4 ,we may well believe that the decoration went far towards furnishing the stately apartment4 ,underneath runs the ,latin inscription1 ,ignem gladio ne fodias1 stir not the fire with the sword4 ,it will be remembered that the arms of the abbess1 for whom the room was decorated1 bore the device of the crescent moon4 ,this fact may have suggested to ,correggio1 or his patrons1 the subject of the moon goddess4 ,diana1 as a virgin divinity1 was an especially appropriate choice for the apartment of a nun4 ,the legends of ,greek mythology were at that time very popular among people of culture1 having been recently brought to notice in the revival of classic learning4 ,in ,italy they furnished themes for the painter2 in ,england1 for the poet4 ,the ,english ,ben ,jonson1 living a half a century later than ,correggio1#ab but representing in a certain measure the same love of classic allusion1 wrote a ,hymn to ,diana1 which might have been inspired by this picture4 ,the first stanza may be quoted for its interpretation3-- ,queen and huntress1 chaste and fair1 ,now the sun is laid to sleep1 ,seated in thy silver chair1 ,state in wonted manner keep4 ,hesperus entreats thy light1 ,goddess excellently bright4 ,footnote #ab3 ,that is1 from #aegc to #afcg4 ,,vi ,,st4 ,,john ,,the ,,evangelist ,it seemed understood among the twelve disciples of ,jesus that ,john was the one of their number especially beloved by the ,master4 ,he and his brother1 ,james1 were the sons of the fisherman ,zebedee1 and all three men earned their living in their fishing-boats on the sea of ,galilee4 ,it was while they were busy with their nets that ,jesus one day called the two brothers to be fishers of men4 ,and they straightway left their nets and followed him4#ac ,footnote #ac3 ,st4 ,matthew1 chapter iv41 verse #bj4 ,under the teachings of ,jesus1 ,john grew in knowledge of spiritual things4 ,he was one of the three accompanying their ,master to the ,mount of ,transfiguration1 where they witnessed a sacred scene withheld from the others4 ,his nature was affectionate and poetic1 and he was a deep thinker4 ,often when the meaning of ,jesus' words was beyond his hearers1 ,john treasured the sayings in his memory4 ,on the evening when ,jesus sat at table with his disciples for the last time1 ,john was near him1 leaning on his ,master's breast4 ,when1 on the next day1 ,jesus hung upon the cross1 it was ,john to whom he commended his mother as to a son4 ,and from that hour that disciple took her unto his own home4 ,in the years that followed1 ,john pursued his ,christian service with the zeal of an ardent nature4 ,he remained awhile in ,judaea and1 in company with ,peter1 added many converts to the faith4 ,he then carried the work into ,asia ,minor1 where he founded seven churches4 ,not only was he a preacher and organizer1 but a voluminous writer as well4 ,the fourth ,gospel is believed to be his work1 in which he records many words and deeds of ,jesus overlooked by the other ,evangelists4 ,he was also the writer of the three ,epistles which bear his name4 ,finally1 he is supposed to be the author of the book of ,revelation1 in which he described his visions during his exile in the isle of ,patmos4 ,according to tradition1 he lived to a great age1 and died at ,ephesus in ,asia ,minor4 ,the love with which ,christians cherish the memory of ,st4 ,john is seen in the number of churches bearing his name4 ,one such is that in ,parma which was newly built at the time when ,correggio was winning his first laurels4 ,the most important portions of the interior decorations were executed by our painter4 ,before considering the frescoes of the cupola1 the visitor to the church likes to pause before the lunette over the door of the left transept4 ,the subject is ,st4 ,john1 seated with his writing materials on his lap4 ,there is a pile of books behind him and a volume beside him4 ,at his feet stands the symbolic eagle pluming his wing4 ,illustration3 ,,st4 ,,john ,,the ,,evangelist ,church of ,s4 ,giovanni ,evangelista1 ,parma ,the emblems of the ,evangelists are drawn from ,ezekiel's vision of the four living creatures1 whose faces were those of a man1 a lion1 an ox1 and an eagle4 ,applied respectively to the writers of the four ,gospels1 each emblem suggests some characteristic trait4 ,the eagle is especially appropriate to ,st4 ,john4 ,as the bird soars into the upper regions of the sky and looks directly at the sun1 so ,st4 ,john's inspiration raised him into the highest realms of thought1 where he seemed to gaze directly upon the divine glory4 ,it is for this that he is called ,st4 ,john1 the divine4 ,as the ,latin inscription over the lunette reads1 ,more deeply than the others he disclosed the mysteries of ,god4#ad ,footnote #ad3 ,altius coeteris ,dei patefecit arcana4 ,in our picture the ,evangelist lifts his eyes heavenward as if beholding a vision4 ,his lips are parted1 and he has the rapt expression of one absorbed in meditation4 ,his right hand still holds the pen as he pauses for inspiration4 ,in trying to do honor to the beloved disciple1 the painters have always represented him as the most beautiful of the twelve4 ,as the most ,christ-like in character1 he is made to resemble the typical figure of ,christ4 ,so in this fresco by ,correggio1 he is a beautiful youth1 with the curling hair1 the oval face and the regular features we associate with the person of ,jesus4 ,though the beardless face is so refined1 there is nothing weak or effeminate about it4 ,the whole figure is indeed very manly4 ,the head is well set on a full throat and the shoulders are broad4 ,rising to his feet ,st4 ,john would be a tall1 athletic young man1 capable of lending a strong hand at his father's fishing-nets4 ,the union of strength and refinement makes the picture one of the most attractive ideals of ,st4 ,john ever painted4 ,the keynote of ,st4 ,john's ,gospel is the love of ,god2 his ardent nature never wearied of the theme2 the wonder in his lifted face shows him still intent upon the mystery4 ,were we to seek some characteristic utterance which should appropriately interpret his thoughts1 it might well be the words of ,jesus to ,nicodemus1 ,god so loved the world that he gave his only begotten son1 that whosoever believeth in him should not perish1 but have everlasting life4#ae ,footnote #ae3 ,st4 ,john1 chapter iii41 verse #af4 ,,vii ,,st4 ,,john ,,and ,,st4 ,,augustine ,the church of ,s4 ,giovanni ,evangelista 7,st4 ,john the ,evangelist71 in ,parma1 is built with a dome-shaped cupola which ,correggio filled with a fresco decoration4 ,the subject is drawn from the life of the apostle whose name is given to the church3 it is the vision of ,st4 ,john on the isle of ,patmos4 ,looking up into the dome1 one seems to be looking directly into the open sky1 upon the figure of ,christ ascending into heaven4 ,the apostles sit in a circle on the clouds1 and beneath them the aged ,st4 ,john kneels on the mountain top1 gazing upwards upon the vision4 ,the heavenly spaces are alive with angels1 for1 as ,browning writes3-- ,correggio loves to mass1 in rifts ,of heaven1 his angel faces1 orb on orb4 ,the little creatures are sporting among the clouds and1 in the poet's phrase1 waiting to see some wonder momently grow out4 ,where the dome rests upon the four arches which support it1 are four triangular corner-pieces called pendentives1 which also belong to ,correggio's decorative plan4 ,they are devoted respectively to the figures of the four ,evangelists1 each one accompanied by one of the four ,fathers of the ,church4 ,the ,christian ,fathers were the men whose writings and teachings shaped the doctrines of the faith in the early centuries of our era4 ,they interpreted for the people the meaning of the ,scriptures and the ,gospels4 ,the pendentive of our illustration contains ,st4 ,john with ,st4 ,augustine4 ,the two sit side by side1 engaged in a discussion over the book which they hold together4 ,st4 ,john is young and beautiful1 as the painters always represent him1 except in the subject of the vision of ,patmos4 ,the face is perhaps less strong and the expression less exalted than in the lunette we have studied4 ,there is a boyish eagerness in his manner4 ,the symbolic eagle is beside him1 peeping out from the folds of the drapery4 ,st4 ,augustine is a handsome old man with finely cut features4 ,to understand how well the figure fits his character1 we must know something of his life4#af ,footnote #af3 ,the life of ,st4 ,augustine1 also called ,st4 ,austin1 is related in the ,golden ,legend4 ,see ,caxton's translation in the ,temple ,classics1 vol4 #e1 page #dd4 ,mrs4 ,jameson gives a condensed account of the life in ,sacred and ,legendary ,art1 p4 #cjc4 ,he was born in ,numidia near the middle of the fourth century1 and showed in his boyhood brilliant powers of mind4 ,without the help of any teacher he read and mastered all the books necessary to an education in the liberal arts4 ,his mother1 ,monica1 was a devout ,christian1 and sought to lead her son to a godly life4 ,for a long time her efforts seemed in vain4 ,augustine would make no profession of the ,christian faith1 but rather indulged in youthful dissipations4 ,his best quality was his love of study4 ,he became a teacher of rhetoric1 and pursued his vocation in one city and another1 always dissatisfied with his life4 ,at length1 in his thirtieth year1 he came to ,milan1 where he fell under the influence of ,bishop ,ambrose4 ,then followed a mighty struggle in his soul1 and in the end he yielded himself joyfully as a disciple of ,christ4 ,on the occasion of his baptism was composed the hymn called the ,te ,deum which is still used in churches4 ,illustration3 ,,st4 ,,john ,,and ,,st4 ,,augustine ,church of ,s4 ,giovanni ,evangelista1 ,parma ,henceforth the life of ,augustine was filled with ,christian labors4 ,after some ten years of devout living he became the bishop of ,hippo 7near ,carthage7 where he resided for thirty-five years1 until his death in #dcj4 ,all his stores of learning were devoted to the explanation of ,christian theology4 ,he wrote a great number of treatises refuting what he believed to be heresies1 and setting forth what he considered the true doctrines of the faith4 ,an old writer pronounced him sweet in speech1 wise in letters1 and a noble worker in the labours of the church4 ,in a book of ,confessions he laid bare all his faults with great humility4 ,in our picture the good bishop is learning the truths of the faith from ,st4 ,john1 while a child-angel behind him holds his crosier and mitre4 ,allowing for the difference of ages1 there is a certain resemblance between the two men1 showing that they have in common a refined and sensitive nature1 and an ardent temperament4 ,the older man's face shows lines of thought and character4 ,st4 ,john seems to be counting off the points of the discussion on his fingers3 it may be that he is unfolding the doctrine of the ,trinity4 ,the bishop follows the argument slowly1 imitating ,st4 ,john's gesture with hesitating hands4 ,what seems so clear to the eager young teacher requires much deliberation on the part of the learner4 ,the old man knits his brows with an intent expression1 striving to understand the mystery4 ,the two earnest faces turned towards each other make an interesting contrast4 ,the angel figures of the pendentive are worthy of notice4 ,three little creatures are frolicking on the clouds below the saints' feet1 and two are perched on the upper part of the arches4 ,they are wingless sprites1 playful as human children1 but with a grace and beauty not of earth4 ,two seem to be emerging from a hiding-place in the clouds1 and gaily hail their comrade on the arch above4 ,the lovely sprite on the opposite arch is thinking of other things1 and looks over his shoulder across the church4 ,the tiny fellow in charge of the mitre and crosier peeps out with a mischievous countenance4 ,our reproduction shows a portion of the soffits1 or under sides of the arches1 decorated with figures from ,old ,testament history1 painted in monochrome4 ,,viii ,,st4 ,,matthew ,,and ,,st4 ,,jerome ,the apostle ,matthew was employed as a tax-gatherer in ,jerusalem when he became a disciple of ,jesus4 ,he was sitting one day at the receipt of customs1 when ,jesus passed by and said unto him1 ,follow me4 ,and he left all1 rose up and followed him4#ag ,soon after1 the new disciple made a great feast for the ,master1 scandalizing the scribes and ,pharisees by inviting guests of doubtful reputation4 ,matthew1 however1 had rightly judged the spirit of ,jesus1 who had come not to call the righteous1 but sinners to repentance4 ,throughout the ministry of ,jesus1 ,matthew remained a faithful disciple1 but without distinguishing himself in any way4 ,evidently he had a thoughtful mind and a good memory4 ,in his ,gospel he reported very fully the ,sermon on the ,mount and many of the parables4 ,footnote #ag3 ,st4 ,luke1 chapter v41 verse #bh4 ,one of the pendentives of the cupola in the church of ,s4 ,giovanni ,evangelista is devoted to ,st4 ,matthew in company with ,st4 ,jerome4 ,the ,evangelist turns from the open ,gospel before him to speak to ,st4 ,jerome1 who is occupied with his writing4 ,a winged cherub1 sitting on a cloud in front of him1 supports his book with both outstretched arms4 ,the cherub is ,st4 ,matthew's emblem1 as the eagle is that of ,st4 ,john4 ,it is by this charming figure that the old masters represented the face of a man1 that is1 the human face1 in the living creature of ,ezekiel's vision4#ah ,the symbol is appropriately applied to the first ,evangelist because his ,gospel emphasizes the humanity of ,jesus4 ,footnote #ah3 ,see also pages #cd1 #ce4 ,the token of ,st4 ,jerome's identity is the cardinal's hat1 held by an angel on the arch beside him4 ,the two volumes on his lap1 in addition to the scroll upon which he is engaged1 show how busy has been the pen of this learned ,father4 ,as the old chronicler relates1 he never rested day ne night1 but always read or wrote4#ai ,footnote #ai3 ,the life of ,st4 ,jerome is related in the ,golden ,legend4 ,see ,caxton's translation1 in the ,temple ,classics1 vol4 v41 page #aii4 ,mrs4 ,jameson gives a condensed account of the same in ,sacred and ,legendary ,art1 page #bhj4 ,he came of a rich family1 and received at ,rome the best education afforded by his times4 ,like his contemporary1 ,st4 ,augustine1 he devoted all his scholarship to the service of the ,christian faith4 ,while ,st4 ,augustine's tastes were more philosophical1 ,st4 ,jerome's were perhaps more for pure learning and the study of the classics4 ,he made himself master of ,hebrew and ,greek1 and his most valuable work was his translations4 ,he rendered into ,latin1 which was the literary language of his day1 the various books of the ,old and ,new ,testament1 and this version became the authorized ,bible or ,vulgate4 ,illustration3 ,,st4 ,,matthew ,,and ,,st4 ,,jerome ,church of ,s4 ,giovanni ,evangelista1 ,parma ,st4 ,jerome was a ,dalmatian by birth1 but in the course of his life he journeyed to many countries4 ,soon after his baptism1 he visited ,syria1 to retrace the scenes of the life of ,christ4 ,he then retired to a desert1 where he passed four years in penance and fasting1 living in the companionship of wild beasts4 ,clothed in sackcloth1 he spent his days in torture1 struggling with temptation1 and haunted by visions of demons4 ,at a later period of his life he was in ,rome1 where he gained an immense influence over fashionable women4 ,two of his converts here were ,paula and ,marcella1 whose names are historical4 ,finally he returned to ,palestine1 and passed the remainder of his days in a monastery which he had founded in ,bethlehem4 ,he was a man of vehement nature1 a violent partisan1 and an untiring student4 ,something of his character may be seen in the face of the old man of our picture1 bending over his writing4 ,he seems so absorbed in his task that he is entirely unconscious of his surroundings4 ,the deep-set eyes1 overhung by shaggy brows1 are fixed intently on his scroll4 ,from his association with ,st4 ,matthew1 we may fancy that he is translating the first ,gospel4 ,the ,evangelist1 with his own volume before him1 is supervising the work4 ,he turns to the translator with an encouraging smile1 and seems to dictate the words4 ,st4 ,matthew's face is gentle and amiable1 though not so strong as we are wont to imagine it4 ,he is here represented in middle life1 at about the age when called to discipleship4 ,as in the pendentive of ,st4 ,john and ,st4 ,augustine1 the angel figures add an element of beauty to the picture4 ,each one seems attracted by some distant object4 ,the cherub holding ,st4 ,matthew's book looks towards the worshippers in the church4 ,some one in the congregation also seems to attract the attention of the angel with the cardinal's hat1 and he smiles shyly1 as if in reply to a gesture of admiration4 ,his companion on the other arch turns his eyes towards the figures in the dome1 where the apostles are enthroned on clouds4 ,the playful little fellow on the clouds below ,st4 ,matthew's feet looks across at the sprites of the opposite pendentive4 ,all this charming by-play gives the impression of a company of living spirits frolicking among the arches of the church4 ,have ,correggio's putti#bj grown up yet and walked out of their frames8 the painter1 ,guido ,reni1 used to ask1 referring with quaint humor to the wonderful lifelikeness of such child figures4 ,so1 looking at these angels1 we half expect to see them wave a hand to us over the arches1 and1 turning with a sudden motion1 disappear from our sight among the clouds4 ,footnote #bj3 ,italian for boys4 ,,ix ,,the ,,rest ,,on ,,the ,,return ,,from ,,egypt 7,the ,madonna della ,scodella7 ,before the child ,jesus was two years old1 he was taken on a journey which at that time was long and tedious4 ,an angel appeared to ,joseph one night in a dream1 saying1 ,arise1 and take the young child and his mother1 and flee into ,egypt1 and be thou there until ,i bring thee word2 for ,herod will seek the young child to destroy him4 ,the news of ,jesus' birth had been first brought to ,king ,herod by the wise men of the ,east1 who came in search of the new-born king whose star they had seen4 ,the idea of a strange ruler to usurp the throne alarmed ,herod1 and he determined to be rid of any possible rival4 ,accordingly orders were given to slay all children in and near ,bethlehem from two years old and under4 ,while this terrible slaughter was going on1 the ,holy ,family were making their way to the strange land of refuge4 ,here they lived1 awaiting heavenly guidance for their return4 ,but when ,herod was dead1 behold an angel of the ,lord appeareth in a dream to ,joseph in ,egypt1 saying1 ,arise1 and take the young child and his mother1 and go into the land of ,israel2 for they are dead which sought the young child's life4 ,and he arose1 and took the young child and his mother1 and came into the land of ,israel4#ba ,footnote #ba3 ,the quotations are from ,st4 ,matthew1 chapter ii4 ,this is all the ,evangelist tells us of what was doubtless an exciting1 perhaps even a perilous adventure4 ,we may suppose both journeys to have been made by donkeys1 the common beasts of burden in ,eastern countries4 ,the young mother and child must certainly have had to ride4 ,as for ,joseph1 he was a sturdy man1 and may well have walked2 in those days travelling was a matter of time4 ,unused to luxuries1 these simple folk trusted in ,providence to supply their few needs by the way4 ,our picture illustrates an imaginary incident on the return journey from ,egypt to ,israel4 ,it is the hour of the noonday rest1 and the little company have come to a halt in the woods4 ,an old legend relates how at such times the trees would bend to offer them fruit1 and springs would gush forth out of the dry ground for their refreshment4 ,mary has seated herself on a bank by the stream1 while ,joseph plucks the fruit from the date palm near by4 ,the boy ,jesus has been standing between the two1 watching ,joseph1 from whose outstretched hand he now takes the fruit4 ,at the same time he is thirsty1 and leaning back towards his mother1 he turns and throws an arm over her shoulder1 asking for a drink of water4 ,she has a round basin 7or scodella7 which the family use as a drinking-cup1 and the child points to it with a coaxing smile1 resting his hand on her wrist4 ,illustration3 ,,the ,,rest ,,on ,,the ,,return ,,from ,,egypt 7,,madonna ,,della ,,scodella7 ,parma ,gallery ,mary turns with fond pride towards the dear little face so near her own4 ,her face is the same which we have already seen bending in a mother's first ecstasy over her babe4 ,here it has a maturer and more matronly look1 but with no less sweetness4 ,joseph1 from his higher level1 looks down kindly upon the two4 ,his generous nature seems to take delight in anything that gives them pleasure4 ,he is large and heavily built1 a stalwart protector should perils beset them4 ,in spite of the thick draperies so clumsily wound about him1 he is a dignified figure4 ,he holds here a place of prominence seldom given him by other painters4 ,the child upon whom so much love is lavished is a tall1 lithe boy with a well shaped head4 ,his hair is parted1 and falls in loose curls on each side of a forehead which marks him a child of genius4 ,the face is delicate and sensitive1 with a shy expression in the eyes4 ,the family are not alone1 for1 all unseen by them1 a company of ministering angels wait upon them4 ,a tall one in the rear takes care of the donkey4 ,another little creature peeps from the thicket beside ,mary4 ,four more circle overhead among the branches of the trees1 borne upon little clouds which they have brought with them from the upper regions4 ,their wind-blown hair and fluttering garments show how swift is their motion4 ,one of them tugs mightily at the palm1 throwing himself backward in the effort to bend it towards ,joseph4 ,two others sport together with interlocked arms1 and higher still1 a pair of eyes gleam through the leaves4 ,the whole jocund company seem to fill the place with mirth4 ,they fulfil the promise of the ancient psalmist1 ,he shall give his angels charge over thee1 to keep thee in all thy ways4 ,certain characteristics of ,correggio's art are well illustrated in the picture4 ,his delight in the foot is here almost equal to that he shows for the hand in ,the ,marriage of ,st4 ,catherine4 ,the three wayfarers travel with bare feet1 and the ministering angels flaunt their feet gaily in the air4 ,drawn in many positions1 it is interesting to see how decorative this feature of the picture is4 ,the figures are cleverly grouped1 that they may completely fill the tall1 narrow panel4 ,the composition is built on a diagonal plan4 ,from the left hand of ,joseph1 grasping the palm branch1 to the right hand of ,mary1 with the basin of water1 runs the strong main line which gives character to the drawing4 ,the child links the two larger figures together1 by stretching out a hand to each4 ,the group of cloud-borne angels above also follows a diagonal direction parallel to the larger group4 ,we shall presently see that the painter used the same method of composition in another picture4 ,the opening beyond the copse1 where the donkey is tied1 makes the spot seem less gloomy and isolated4 ,it is an important principle of art to represent no enclosed place without a glimpse of light in the background4 ,x ,,ecce ,,homo ,the old ,hebrew prophet who wrote of the coming ,messiah predicted that he should be despised and rejected of men1 a man of sorrows1 and acquainted with grief4 ,how fully the prophecy was realized1 we may read in the narrative of the trial and crucifixion of ,jesus4 ,the enemies of ,jesus had to deal with their prisoner according to the formality of the ,roman law4 ,they brought him to the ,roman governor1 ,pontius ,pilate1 accusing him of perverting the nation1 and forbidding to give tribute to ,caesar1 saying that he himself is ,christ1 a king4#bb ,the governor duly examined ,jesus1 but1 finding no case against him1 proposed to scourge him and let him go4 ,footnote #bb3 ,st4 ,luke1 chapter xxiii41 verse #b4 ,then ,pilate therefore took ,jesus and scourged him4 ,and the soldiers platted a crown of thorns and put it on his head1 and they put on him a purple robe1 and said1 ,hail1 ,king of the ,jews6 and they smote him with their hands4 ,pilate therefore went forth again1 and saith unto them1 ,behold1 ,i bring him forth to you1 that ye may know that ,i find no fault in him4 ,then came ,jesus forth1 wearing the crown of thorns1 and the purple robe4 ,and ,pilate saith unto them1 ,behold the man6 ,when the chief priests therefore and officers saw him1 they cried out1 saying ,crucify him1 ,crucify him4#bc ,pilate again sought to release ,jesus1 but the people continued to clamor1 ,away with him1 ,crucify him4 ,then delivered he him therefore unto them to be crucified4#bd ,footnote #bc3 ,st4 ,john1 chapter xix41 verses #a-f4 ,footnote #bd3 ,ib41 verse #af4 ,the ,latin form of ,pilate's words1 ,behold the man1 has given the title ,ecce ,homo to our picture4 ,it is the moment when ,jesus comes forth from the rude mockery of the soldiers1 clad in a royal robe1 and wearing the crown of thorns4 ,the governor has bidden one of the soldiers lead the prisoner out on a balcony of the palace4 ,an eager throng of people are waiting outside1 but they are not all enemies4 ,among them are a few faithful women1 and they are allowed to press close to the balcony4 ,at the sight of her son1 treated as a criminal with bound hands1 the mother1 ,mary1 falls swooning over the balustrade1 supported by a younger woman4 ,pilate standing in the doorway behind appeals to the crowd3 ,i find no fault in him4 ,behold the man4 ,he has been deeply impressed by his interview with ,jesus1 and is willing to do something in his behalf4 ,his face is good-natured1 we see1 but with no strength of character in it4 ,he is a handsome man with curling beard carefully trimmed1 apparently not a hard man to deal with1 but easy-going and selfish4 ,illustration3 ,,ecce ,,homo ,national ,gallery1 ,london ,jesus stands with drooping head and an expression of suffering resignation4 ,in the menacing faces before him he sees the hatred which will be satisfied with nothing less than his death4 ,already he hears the cruel cry1 ,crucify him1 crucify him4 ,his badge of kingship is the crown of suffering4 ,were his kingdom of this world1 his servants would deliver him from his enemies4 ,as the ruler of a heavenly kingdom1 he was born to bear witness unto the truth4 ,the rich mantle1 which the soldiers have mockingly thrown over his shoulders1 falls away and shows the body as it had been bared for the scourging4 ,it is a beautiful form1 perfectly developed1 and the arms and hands are as delicately modelled as a woman's4 ,the face is oval1 with regular features of classic mould1 a short parted beard1 and long hair falling in disordered curls about it4 ,this is the typical face of ,christ1 as it has been handed down from generation to generation since early in the ,christian era4 ,the rude pictures in the catacombs are on the same model4 ,so faithfully has the type been followed through the centuries1 some believe that the original must have been an authentic likeness4#be ,footnote #be3 ,see ,rex ,regum1 by ,sir ,wyke ,bayliss4 ,the mother ,mary is still young and beautiful4 ,as the great ,michelangelo said1 ,purity enjoys eternal youth4#bf ,a heavy veil or mantle is draped over her head1 framing the pure profile of her face4 ,this form of drapery is common among the old masters in painting ,mary as ,mater ,dolorosa1 or the ,sorrowing ,mother4 ,footnote #bf3 ,see the volume on ,michelangelo in the ,riverside ,art ,series1 page #ce4 ,artistically considered1 this figure of the fainting mother is the finest thing in the picture4 ,her companion1 probably ,mary ,magdalene1 is also a lovely creature1 though we see only a part of her face4 ,the subject is in tragic contrast to the illustrations we have just been studying4 ,it seems strange to connect this ,man of ,sorrows with the happy boy we saw by the woodland spring1 or this grief-stricken woman with that proud young mother4 ,correggio himself1 we know1 shrank from such sad themes4 ,like the picture of ,the ,marriage of ,st4 ,catherine1 our illustration shows how skilfully ,correggio painted hands4 ,the drooping fingers of the ,saviour taper delicately1 with long almond-shaped nails4 ,pilate's hand has slender1 flexible fingers like those of some dainty woman1 and might be mated with that of ,mary ,magdalene4 ,it is apparent that the study of hands and feet interested our painter more than that of faces4 ,we shall lose much in his pictures if we do not give special attention to these features4 ,in the case before us1 the face of ,christ must be less attractive1 on account of the sorrowful expression4 ,to make up1 as it were1 for this1 the hands are brought into prominent notice1 and are very beautiful4 ,,xi ,,apostles ,,and ,,genii ,the glory of ,parma is the ,cathedral1 which represents the labors of many centuries4 ,the building itself was begun in #ajeh1 and completed in the thirteenth century4 ,the interior was beautified by a succession of artists1 one of whom was our painter ,correggio4 ,his work here was the decoration of the cupola1 and he began it immediately upon finishing the frescoes in the church of ,s4 ,giovanni ,evangelista4 ,the ,cathedral dome is octagonal in shape4 ,in the roof1 or topmost space1 the ,virgin ,mary seems borne on circling throngs of saints and angels to meet the ,saviour in the upper air4 ,below the dome runs a cornice1 or frieze1 in eight sections1 filled with figures of apostles gazing upon the vision4 ,still lower are four decorated pendentives1 similar to those in the church of ,s4 ,giovanni ,evangelista4 ,these contain respectively the four patron saints of ,parma4 ,to the spectator looking up from below1 the effect is of a moving vision1 rapturous and ecstatic4 ,a multitude of radiant figures sweep and whirl through the heavenly spaces4 ,they are upon every side1 bending1 tossing1 floating1 and diving through the clouds1 hovering above the abysmal void that is between the dome and the earth below it4#bg ,wonderful indeed is the triumph of the painter's art in this place4 ,reverse the cupola and fill it with gold1 and even that will not represent its worth1 said ,titian4 ,footnote #bg3 ,e4 ,h4 ,blashfield in ,italian ,cities4 ,our illustration shows a portion of the octagonal cornice4 ,the design is a simulated balcony ornamented with tall candelabra4 ,in front stand the apostles grouped in twos at the corners4 ,on the top of the balustrade1 in the spaces between the candelabra1 sport a band of genii1 or heavenly spirits4 ,the four apostles are men of giant frames with broad shoulders and stalwart limbs4 ,they are of middle age1 heavily bearded1 and all look much alike4 ,it would be impossible to call one ,peter1 and another ,paul1 or to identify any particular persons4 ,evidently it was not the intention of the artist to distinguish individuals4 ,all the figures are turned with lifted faces towards the vision in the dome4 ,each expresses1 by a gesture1 the wonder1 joy1 rapture1 or admiration aroused by the spectacle4 ,their attitudes are somewhat extravagant and self-conscious4 ,the drapery1 too1 is rather fantastic1 flung about their figures1 leaving arms and legs bare4 ,were the picture taken out of its surroundings it would scarcely suggest a ,christian subject4 ,these colossal beings are like ,titans moving through the figures of a sacred dance1 and murmuring the mystic incantations of some heathen rite4 ,illustration3 ,,apostles ,,and ,,genii ,cathedral1 ,parma ,but we must not press our interpretation too far4 ,the panel should be studied for its decorative quality as a part of a larger scheme4 ,viewed from below1 this procession of figures must be exceedingly effective4 ,the emphasis of lines is diagonal1 flowing in the direction of the focal point of the whole decoration4 ,the genii of the balustrade are beings of ,correggio's own creation4 ,his imagination called forth a world of spirits without a counterpart in the work of any other painter4 ,lacking the wings usually given in art to angels1 they also lack the proper air of sanctity for heavenly habitants4 ,yet they are far too ethereal for mortals4 ,neither angel nor human1 they are rather sprites of elf-land4 ,with their tossing hair and agile motions they remind us of woodland creatures1 and they look shyly out of their eyes like the furtive folk of the forest4 ,they are sportive1 but not mischievous1 in the human sense4 ,they frolic in the pure delight of motion4 ,by mortal standards of age they are between childhood and youth1 when limbs are long and bodies supple4 ,their only draperies are narrow scarfs which they twist about them in every conceivable way4 ,of the seven figures seen in our illustration1 two only have any ostensible purpose to serve4 ,one seems to be lighting a candelabrum with a flambeau2 another carries a bowl which may be used for incense4 ,the others are idlers4 ,if they have any duties as acolytes1 these are for the moment forgotten4 ,several are attracted by the ceremonies in the cathedral and look down from their high perch upon the worshipping congregation4 ,the sprite at the extreme right is seated1 and peeps over his shoulder with a rather dreamy expression4 ,next come two who are playing together1 one throwing up his left arm as if to balance himself4 ,beyond the candelabrum is one whose parted hair and coquettish pose of the head give a feminine look to the figure4 ,the sprite in the centre of the balustrade is the most winsome of the company4 ,his bright eyes have spied out some one in the congregation1 and stooping1 he points directly at the person4 ,his expression is very roguish4 ,the little fellow with the flambeau is at the left1 and last is one whose face is turned away towards the imaginary space behind the balcony4 ,our illustration gives us a general idea of ,correggio's decorative method4 ,the human body was his material2 his patterns were woven of nude figures1 posed in every possible attitude4 ,every figure is in motion1 and the whole multitude palpitates with the joy of living4 ,,xii ,,st4 ,,john ,,the ,,baptist ,in one of the pendentives of the cupola in the ,parma ,cathedral is the figure of ,st4 ,john the ,baptist reproduced in our illustration4 ,the background is made to resemble somewhat the interior of a shell4 ,on billows of clouds sits the prophet1 with a lamb in his arms1 and a circle of angels playing about him4 ,st4 ,john the ,baptist was a cousin of ,jesus1 and the first to recognize the true character of the carpenter's son4 ,while ,jesus was still living in obscurity in ,nazareth1 ,john went forth to preach in the wilderness about the river ,jordan4 ,his manner of life was very singular4 ,he had his raiment of camel's hair and a leathern girdle about his loins2 and his meat was locusts and wild honey4#bh ,footnote #bh3 ,st4 ,matthew1 chapter iii41 verse #d4 ,the preacher was stern in denouncing sin and in warning evil-doers of the wrath to come4 ,the burden of all his sermons was1 ,repent1 for the kingdom of heaven is at hand4 ,when the people asked him what they ought to do1 his answers were full of common sense4 ,he that hath two coats1 let him impart to him that hath none2 and he that hath meat1 let him do likewise4 ,to the tax-collectors1 he said1 ,exact no more than that which is appointed you2 to the soldiers1 ,do violence to no man1 neither accuse any falsely4#bi ,footnote #bi3 ,st4 ,luke1 chapter iii4 ,the authorities sent from ,jerusalem to question the claims of the strange preacher2 but his reply was in the words of the old ,hebrew prophet1 ,i am the voice of one crying in the wilderness4#cj ,footnote #cj3 ,st4 ,john1 chapter i41 verse #bc4 ,it was the custom of ,john to baptize his converts in the river ,jordan4 ,one day ,jesus presented himself for baptism1 and ,john saw in him one whose shoe's latchet he was not worthy to unloose4 ,at once he proclaimed him to the people as the ,lamb of ,god who taketh away the sins of the world4#ca ,footnote #ca3 ,ib41 verse #bi4 ,with the entrance of ,jesus upon his ministry1 ,john's work was fulfilled4 ,he must increase1 but ,i must decrease1 said the prophet humbly4#cb ,he was soon after cast into prison by ,king ,herod1 whose vices he had openly rebuked4 ,thence he was taken out only to be executed4 ,footnote #cb3 ,st4 ,john1 chapter iii41 verse #cj4 ,it must be confessed that ,correggio cared very little about making a true character study of ,st4 ,john4 ,there is not much in the figure of our pendentive to suggest the stern and fearless prophet of the wilderness4 ,the humility of the countenance is perhaps the feature most appropriate to the character4 ,the shy1 haunting expression in the eyes is1 too1 such as belongs to one who1 like ,st4 ,john1 lived much alone in the woods4 ,the tunic is short and sleeveless1 showing the strong limbs of the hermit4 ,illustration3 ,,st4 ,,john ,,the ,,baptist ,cathedral1 ,parma ,for the rest1 the ,baptist's face has the same gentle amiability we have already seen in ,st4 ,matthew and ,joseph4 ,the type is a common one with ,correggio4 ,a certain resemblance runs through nearly all his male figures1 whether of smooth-faced youth1 bearded manhood1 or hoary old age4 ,the tenderness of ,st4 ,john for his little lamb is the chief motive of the picture4 ,he carries it on his left arm1 supporting the weight on his knee1 and the innocent creature puts its nose close to the prophet's face4 ,the lamb is the accepted symbol of ,st4 ,john the ,baptist1 in allusion to the words with which he addressed ,jesus at the ,jordan1 ,behold the lamb of ,god4 ,the same figure is used in the book of ,revelation1 where the ,lamb is described in the midst of the throne4 ,standing for the person of ,christ himself1 ,st4 ,john holds the sacred emblem with reverence4 ,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 above4 ,the angel figures of this pendentive are among the most beautiful and characteristic of the myriad throng of the cupola4 ,the impression made by this great spirit company upon one standing beneath the dome has been described in some lines by ,aubrey de ,vere3-- ,creatures all eyes and brows and tresses streaming1 ,by speed divine blown back2 within all fire ,of wondering zeal1 and storm of bright desire4 ,round the broad dome the immortal throngs are beaming1 ,with elemental powers the vault is teeming2 ,we gaze1 and gazing join the fervid choir1 ,in spirit launched on wings that ne'er can tire4 ,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 one1 these in our picture may be studied separately4 ,there are six in all1 and their purpose is to call the attention of the worshippers to the prophet4 ,the two in the rear1 whose bodies are hidden in the clouds1 gaze upon him adoringly4 ,one on each side points with outstretched finger to the lamb1 as if repeating the ,baptist's words1 ,behold the lamb of ,god4 ,the angel astride the cloud in front was interrupted in the same task by a little fellow suddenly shooting out from the clouds beneath him4 ,he peers into the opening at one side1 but still lifts his left hand towards the prophet above him4 ,the six figures are arranged in a semicircle1 and their slender limbs and lithe bodies trace rhythmic lines of grace4 ,the most charming of the company is perhaps he at the right1 whose eyes meet ours with a bewitching smile4 ,,xiii ,,christ ,,appearing ,,to ,,mary ,,magdalene ,,in ,,the ,,garden 7,noli me tangere7 ,it was ,sunday1 the third day after the crucifixion of ,jesus4 ,early in the morning1 while it was yet dark1 a young woman made her way to the rock-hewn tomb in the garden of ,joseph of ,arimathea4 ,it was ,mary ,magdalene1 whom ,jesus had rescued from a life of sin4 ,much had been forgiven her1 therefore she loved much4 ,in her sorrow she came to visit the spot where the body of her crucified ,master had been laid4 ,great was her surprise to find that the stone placed at the entrance of the tomb had been rolled away4 ,in her perplexity1 she ran to tell the disciples ,peter and ,john4 ,they all hurried back together to the garden1 and the two men1 entering the tomb1 found it empty4 ,unable to explain the mystery1 they presently returned home1 leaving ,mary still standing without the sepulchre weeping4 ,and as she wept1 she stooped down1 and looked into the sepulchre1 and seeth two angels in white sitting1 the one at the head1 and the other at the feet1 where the body of ,jesus had lain4 ,and they say unto her1 ,woman1 why weepest thou8 ,she saith unto them1 ,because they have taken away my ,lord1 and ,i know not where they have laid him4 ,and when she had thus said1 she turned herself back1 and saw ,jesus standing1 and knew not that it was ,jesus4 ,jesus saith unto her1 ,woman1 why weepest thou8 whom seekest thou8 ,she1 supposing him to be the gardener1 saith unto him1 ,sir1 if thou have borne him hence1 tell me where thou hast laid him1 and ,i will take him away4 ,jesus saith unto her1 ,mary4 ,she turned herself1 and saith unto him1 ,rabboni2 which is to say1 ,master4 ,jesus saith unto her1 ,touch me not2 for ,i am not yet ascended to my ,father3 but go to my brethren1 and say unto them1 ,i ascend unto my ,father1 and your ,father2 and to my ,god1 and your ,god4#cc ,footnote #cc3 ,chapter xx4 of the ,gospel according to ,st4 ,john1 verses #aa-ag4 ,our picture illustrates the story of that first ,easter morning4 ,jesus has greeted ,mary by name1 and she has instantly recognized the ,master4 ,sinking on her knees1 she would have impulsively stretched out her hands to him1 but he repels her with a gesture4 ,awe-struck1 she gazes into his face1 while he explains the message she is to carry to the disciples4 ,illustration3 ,,christ ,,appearing ,,to ,,mary ,,magdalene ,,in ,,the ,,garden 7,,noli ,,me ,,tangere7 ,prado ,gallery1 ,madrid ,the risen ,lord is clad in but one garment1 a heavy mantle1 knotted at the waist4 ,the upper part is slipping from his shoulders1 leaving the torso bare4 ,the beauty of the form reminds us of a ,greek statue4 ,on the ground beside him are some garden tools1 a hoe and a spade1 and beyond these lies a straw hat4 ,these things explain why ,mary1 blinded and confused with weeping1 supposed that it was the gardener who spoke to her4 ,the ,master's attitude and gesture emphasize the meaning of his words4 ,the body sways slightly to one side1 as if shrinking from ,mary's touch4 ,he still holds his right hand outstretched1 as when he said ,touch me not4 ,and now he raises his left arm1 and pointing heavenward declares that he is about to ascend to his ,father4 ,he seems to speak gently as to a child1 and looks down into ,mary's face with a smile4 ,the young woman is richly arrayed in a brocade dress1 cut so as to show her beautiful neck and arms4 ,a mass of wavy golden hair falls over her shoulders and upon her bosom4 ,her tapering wrists and delicate hands indicate gentle blood1 but her features are somewhat heavy1 and the face would not attract us by its beauty4 ,the rapt expression of devotion is what makes it interesting4 ,the whole attitude expresses complete self-forgetfulness4 ,the lithe and youthful figure of ,christ recalls the boy we saw in a former picture journeying from ,egypt4 ,we can see that this is the man into whom that child is grown4 ,we note again the high full forehead over which the parted hair is brushed in curves4 ,again1 too1 we see the small mouth with the gentle smile4 ,the figure in general features resembles the ,christ type which is illustrated in the picture of ,ecce ,homo4 ,in painting the figure of the risen ,christ1 the old masters were accustomed to give prominence to the nail prints in hands and feet1 and the wound in his side4 ,correggio has not done this4 ,such signs of suffering were inconsistent with the joyous nature of his art4 ,the subject of the picture is entirely a happy one1 and he has kept out of it all evidences of the crucifixion1 emphasizing rather the idea of the ascension4 ,in some artistic points our picture resembles the ,madonna della ,scodella4 ,the pose of ,christ is similar to that of ,joseph1 with one arm lifted up1 and the other reaching down4 ,thus is formed the diagonal line which is at the basis of the composition4 ,the right arm of ,mary carries the line on to the lower corner of the picture4 ,the landscape setting makes a spacious background1 and a large tree behind ,christ throws his figure into relief4 ,,xiv ,,the ,,madonna ,,of ,,st4 ,,jerome 7,il ,giorno7 ,it is a bright clear day1 and a baby boy is having a rare frolic out of doors1 on his mother's knee4 ,it is the little ,christ-child1 and his visitors are ,st4 ,jerome and ,mary ,magdalene4 ,overhead a red cloth drapery has been stretched from tree to tree1 making a sort of canopy to protect the company from the direct rays of the sun4 ,st4 ,jerome has brought as an offering the books which represent the scholarly toil of many years4 ,mary ,magdalene has her jar of ointment for the anointing of the ,saviour's feet4 ,the mother sits on a slight elevation in the centre1 her bare foot resting on the ground4 ,st4 ,jerome stands in front1 a little at one side1 where he can hold a book directly before the child's face4 ,mary ,magdalene1 half kneeling on the other side1 stoops to caress a little foot4 ,the sturdy old father seems to have come directly from his monastery in ,bethlehem1 and his lion follows him like a faithful dog4 ,the old legend relates that as he sat one evening at his monastery gate1 a lion approached1 holding up a paw which was pierced with a thorn4 ,the good father removed the thorn and dressed the wound1 and the grateful beast became thenceforth the constant companion of his benefactor4 ,the scroll in ,st4 ,jerome's right hand may be any one of his many treatises or translations4 ,the large open volume is undoubtedly his ,latin version of the ,bible4 ,one side of the book is supported on his left hand1 while the other is held by an attendant angel1 who turns the pages for the ,christ-child4 ,there is something very interesting on the page now open1 and the angel points a slender finger to a particular passage4 ,the child is wrought up to the highest pitch of excitement4 ,he stretches out his legs and arms1 his whole body stiffening in a tremor of joy4 ,he fairly pants with eagerness for the treasure just beyond his grasp4 ,though not a pretty boy1 he is so full of life that we find him very captivating4 ,old ,st4 ,jerome looks immensely pleased with the child's delight4 ,the angel playfellow is delighted with his success in amusing the baby1 and laughs sympathetically with him4 ,the mother smiles with gentle indulgence1 and holds him firmly lest he spring from her arms4 ,mary ,magdalene appears almost unconscious of what is going on4 ,her whole being is absorbed in loving devotion4 ,she has caught one little foot lightly by the heel1 and1 drawing it towards her1 lays her cheek against the soft knee4 ,her hair is unbound1 and falls in long tresses over her neck4 ,in throwing out his arms1 the child's left hand has fallen on the golden head1 and here it rests as if he returned the caress4 ,in the mean time a mischievous urchin1 who may be the boy ,baptist1 holds the ,magdalene's jar of ointment4 ,he stands behind her like a small lackey1 and sniffs curiously at the contents of the pot4 ,illustration3 ,,the ,,madonna ,,of ,,st4 ,,jerome ,parma ,gallery ,if it seems strange that ,st4 ,jerome and ,mary ,magdalene should be here together1 we must remember that the painters of ,correggio's time did not try to represent sacred scenes with historical accuracy4 ,it was customary to bring together in a picture persons who lived in altogether different periods and countries4 ,the meaning of such pictures was symbolic4 ,the ,christians of all ages constitute a communion of the saints who meet at the ,christ-child's feet4 ,the two saints here make a fine artistic contrast1--the rugged and grizzled old man1 and the lovely golden-haired maiden4 ,the splendid muscular strength of the one is offset against the radiant beauty of the other4 ,in a devotional sense also the contrast is most appropriate4 ,st4 ,jerome has served the ,christ with great powers of intellect2 ,mary ,magdalene brings only a woman's loving heart4 ,the one has written great books2 the other could do nothing but anoint the ,saviour's feet4 ,yet the two kinds of service are equally important4 ,st4 ,jerome's translations have carried the gospel over the world1 and it is written that ,wheresoever this gospel shall be preached in the whole world1 there shall also this1 that this woman hath done1 be told for a memorial of her4#cd ,footnote #cd3 ,st4 ,matthew1 chapter xxvi41 verse #ac4 ,the composition of the picture is on a diagonal plan similar to that which we have already noticed in his pictures4#ce ,the structural line may be traced from the top of ,st4 ,jerome's head across the shoulders and back of ,mary ,magdalene4 ,the edge of the canopy overhead emphasizes this line by following the same general direction4 ,the child's figure behind the ,magdalene balances the figure of the lion in the left corner4 ,footnote #ce3 ,see chapters ,,ix4 and ,,xiii4 ,the landscape which lies beyond the canopy is an important and beautiful part of the picture4 ,without this spacious distance in the background the large figures filling the foreground would crowd the composition unpleasantly4 ,it is a relief to the eye to traverse this stretch of sunny country4 ,the picture makes it possible for us to understand why ,correggio has been called a painter of light and space and motion4 ,all three characteristics are admirably illustrated here4 ,in color1 too1 the original painting is very fine4 ,the ,virgin wears the usual red robe and blue mantle1 the colors denoting love and constancy4 ,st4 ,jerome has a blue drapery about the hips and a crimson mantle1 while the angel's tunic and ,mary ,magdalene's mantle are yellow4 ,it is the clear golden atmosphere flooding the scene which gives it the ,italian name of ,il ,giorno1 ,the ,day4 ,,xv ,,cupid ,,sharpening ,,his ,,arrows 7,detail of ,danae7 ,in the imagination of the ancient ,greeks all human love was inspired by the goddess ,aphrodite1 ,venus1 aided by her son1 the little archer ,cupid4 ,it was ,cupid's office to shoot the arrows of affection4 ,being a mischievous fellow1 he took delight in aiming his shafts at the unsuspecting4 ,often his victims were so oddly chosen that it seemed as if the marksman had shot at random4 ,some believed that he did his work blindfolded4 ,the poets describe ,cupid as a beautiful winged boy carrying a bow and a quiver of arrows1 and sometimes a torch4 ,he flew at will through the wide universe1 but he loved best the island of ,cyprus1 which was his mother's first home4 ,his head has goodly curls1 wrote ,moschus1#cf but impudent is the face he wears2 his little hands are tiny1 'tis true1 yet they shoot far4444 ,small is his arrow1 yet it carries even to the sky4444 ,he is naked indeed1 so far as his body is concerned1 but his mind is shrouded4 ,and being winged as a bird he flies upon now one party of men and women and now another1 and settles on their inmost hearts4 ,footnote #cf3 ,in the first idyl1 translated by ,j4 ,bank4 ,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 honey4 ,the way in which they were fashioned is variously described by the poets4 ,anacreon has it that they were made at the forge of ,vulcan1 the husband of ,venus1 and the blacksmith of the gods4 ,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 warm2 ,while ,venus every barb imbues ,with droppings of her honeyed dews2 ,and ,love 7alas the victim heart7 ,tinges with gall the burning dart4#cg ,footnote #cg3 ,in ,moore's translation4 ,a slightly different explanation is given by the ,latin poet ,claudian3-- ,in ,cyprus' isle two rippling fountains fall ,and one with honey flows1 and one with gall2 ,in these1 if we may take the tale from fame1 ,the son of ,venus dips his darts of flame4 ,however the story may run1 there is but one ending4 ,the victim of the love-god's arrow confesses that loving is a painful thrill1 but not to love1 more painful still4 ,illustration3 ,,cupid ,,sharpening ,,his ,,arrows 7,,detail ,,of ,,danae7 ,borghese ,gallery1 ,rome ,so bold was the little archer that the mightiest could not withstand his arts4 ,the war-god ,mars1 bringing his spear one day to ,vulcan's forge1 smiled contemptuously at the light shafts of ,cupid4 ,try it1 said little ,love1 handing him one4 ,whereupon the foolish fellow cried out in an agony of pain1 and begged ,cupid to take the arrow back4 ,apollo1 the archer of the sun1 was equally imprudent1 and was richly punished for his sneers4 ,an arrow from the fatal quiver made him mad with unrequited love for the nymph ,daphne4 ,a being who could give so much pain and pleasure was at once to be loved and feared4 ,hence all paid homage-- ,to ,love1 for heaven and earth adore him ,and gods and mortals bow before him4 ,in our picture1 ,cupid looks just as the poets have described him1 a beautiful baby boy with wings and goodly curls4 ,only the milk and honey of ,cyprus could have made the little body so plump4 ,a deep crease marks the line of his wrist1 a soft fold of flesh the neck4 ,the full quiver lies on the table beside him1 and he is sharpening one of the darts4#ch ,a little companion helps him hold the whetstone steady while he presses the arrow tip upon its surface4 ,some lines of ,horace come to mind describing-- ,cupid sharpening all his fiery darts ,upon a whetstone stained with blood of hearts4 ,footnote #ch3 ,vasari says that ,cupid is trying the arrow on a stone4 ,cupid's companion is as like him as a twin1 save that he has no wings4 ,he may be a human playfellow of the little god1 or one of the brood of loves with which the poets have peopled ,cyprus4 ,while the original myth told of only one ,cupid1 imagination has multiplied his kind4 ,we read of the playful rout of ,cupids attendant upon the love-god1 who rules as sovereign among them4 ,the two children of the picture are intent upon their task4 ,the very seriousness of their manner argues some mischief in view4 ,evidently they are preparing for a great conquest4 ,the arrow must not fail of its work1 but must be sharp enough to carry the sweet poison straight to the victim's heart4 ,both of the chubby fellows have rather large heads with clustering ringlets4 ,the wingless boy has the high1 full forehead which marks an active mind4 ,cupid seems to have the more energetic temperament of the two1 while his comrade is a bit of a dreamer4 ,our picture is a charming illustration of ,correggio's love of children4 ,as it was not the fashion of his time to paint children's portraits1 he had to make his own opportunities for the favorite subject4 ,how ingenious he was we have had occasion to see in our study4 ,when given a sacred subject to paint he filled all the available spaces with child angels sporting in the clouds4 ,with the ceiling of a room to decorate1 he covered the whole surface with a band of little boys at play4 ,our reproduction is a detail of a larger picture illustrating the myth of ,danae4 ,the two little figures are in the lower right corner of the canvas4 ,,xvi ,a ,,supposed ,,portrait ,,of ,,correggio ,almost every celebrated painter has at some time in his life sat for his portrait4 ,many have painted their own likenesses1 not so much from motives of vanity1 but as a matter of artistic interest4 ,others have posed as models to their fellow painters4 ,correggio was an exception in this regard4 ,the old biographer ,vasari made many efforts to procure a portrait1 and concluded that he never took it himself1 nor ever had it taken by others1 seeing that he lived much in retirement4 ,our painter1 as we have seen1 was not a student of the face4 ,form and expression did not greatly interest him4 ,he busied himself chiefly with problems of light and shade4 ,this is perhaps the reason why he never thought it worth while to paint his portrait4 ,he was not a traveller1 and probably never visited any of the great art centres of his time4 ,so he made no friends among the contemporary painters who would have been likely to make his portrait4 ,in any case his busy life left little time for any work for himself1 and if he thought at all of a portrait1 he doubtless postponed it to some more convenient season4 ,waiting for such a time1 his career was brought suddenly to an end4 ,he died of fever in ,correggio at the age of forty4 ,in the passing centuries one picture after another has been put forward as a pretended portrait of ,correggio4 ,the painter's admirers were always eager to believe that a real likeness had at last been discovered4 ,though we cannot rely upon the genuineness of any of these1 some are very interesting4 ,such an one is our frontispiece1 from a painting in the ,parma ,gallery1 pointed out as ,correggio's portrait4 ,whoever the original may have been1 the expression is certainly animated and intelligent4 ,there is much humor and kindliness in the face4 ,the unknown artist should have the credit for the gift of revealing the individual character of his sitter4 ,lacking an authentic portrait of the man ,correggio1 we have to content ourselves with the short account of his character given by ,vasari4 ,he was a person1 writes the biographer1 who held himself in but slight esteem1 nor could he ever persuade himself that he knew anything satisfactorily respecting his art2 perceiving its difficulties1 he could not give himself credit for approaching the perfection to which he would so fain have seen it carried2 he was a man who contented himself with very little1 and always lived in the manner of a good ,christian4 ,,pronouncing ,,vocabulary ,,of ,,proper ,,names ,,and ,,foreign ,,words ,the ,diacritical ,marks given are those found in the latest edition of ,webster's ,international ,dictionary4 ,,explanation ,,of ,,diacritical ,,marks4 ,a ,dash 77 above the vowel denotes the long sound1 as in fate1 eve1 time1 note1 use4 ,a ,dash and a ,dot 747 above the vowel denote the same sound1 less prolonged4 ,a ,curve 777 above the vowel denotes the short sound1 as in 7add1 7end1 7ill1 7odd1 7up4 ,a ,dot 747 above the vowel a denotes the obscure sound of a in p4ast1 4abate1 ,am7eric4a4 ,a ,double ,dot 77 above the vowel a denotes the broad sound of a in faether1 aelms4 ,a ,double ,dot 737 below the vowel a denotes the sound of a in ba3ll4 ,a ,wave 77 above the vowel e denotes the sound of e in her4 ,a ,circumflex ,accent 77 above the vowel o denotes the sound of o in born4 ,a dot 747 below the vowel u denotes the sound of u in the ,french language4 ,n indicates that the preceding vowel has the ,french nasal tone4 ,g and ,k denote the guttural sound of ch in the ,german language4 th denotes the sound of th in the1 this4 c sounds like s4 -c sounds like k4 s4 sounds like z4 g is hard as in get4 4g is soft as in 4gem4 ,allegri 7ael-la'gre74 ,altius caeteris ,dei patefecit arcana 7ael't4e-7oos ki't4a-r4es da'e pae-ta-fa'-k7it aer-kae'nae74 ,ambrose 77am'broz74 ,anacreon 77an-7ak'r4e-7on74 ,antonio 7aen-to'ne-o74 ,apollo 74a-p7ol'lo74 ,aphrodite 77af-r4o-di'te74 ,artemis 7aer'te-m7is74 ,arimathea 77,ar-7i-m4a-the'4a74 ,athena 77a-the'n4a74 ,augustine 7a3'g7us-ten74 ,aurora 7a3-ro'r4a74 ,austin 7a3s't7in74 ,bayliss1 ,wyke 7w7ik ba'l7is74 ,bethlehem 7,b7eth'leh7em74 ,berenson 7ba'r7en-s7on74 ,blashfield 7bl7ash'feld74 ,burckhardt 7boork'haert74 ,caesar 7se'z4ar74 candelabrum 7k7an-d4e-la'br7um74 ,carthage 7kaer'thaj74 ,catherine 7k7ath'7er-7in74 ,caxton 7k7aks't7un74 ,cavaliere 7kae-vae-le-a'r4a74 chiaroscuro 7kyae-r4o-skoo'r4o74 ,cicerone 7che-cha-ro'n4a74 ,claudian 7cla3'd7i-4an74 ,correggio 7k7or-r7ed'jo74 ,costus 7k7os't7us74 ,comus 7ko'm7us74 ,cupid 7,cu'p7id74 ,cyprus 7si'pr7us74 ,dalmatian 7d7al-ma'sh4an74 ,danae 7da'n4a-e74 ,daphne 7d7af'ne74 ,diana 7di-7an'4a or di-a'n4a74 ,ecce ,homo 77ek'k7e or 7ek's4e ho'mo74 ,egypt 7e'j7ipt74 ,endymion 77en-d7im'7i-7un74 ,ephesus 77ef'4e-s7us74 ,ezekiel 7e-ze'k7i-7el74 ,galilee 7g7al'7i-le74 ,giorno1 ,il 7el jor'no74 ,giovanni ,evangelista 7jo-vaen'ne a-vaen-ja-les'tae74 ,guido ,reni 7gwe'do ra'ne74 ,hazlitt 7,h7az'l7itt74 ,heilige ,nacht 7hi'l4e,g-7u nae,kt74 ,heaton 7he't7un74 ,herod 7,h7er'7od74 ,hesperus 7,h7es'per7us74 ,hippo 7,h7ip'po74 ,horace 7hor'4as74 ,ignem gladio ne fodias 74eg'n7em glae'-d4e-o na fo'd4e-aes74 ,israel 77iz'ra-7el74 ,jameson 7ja'm7e-s7un74 ,jerome 7je-rom' or j7er'7om74 ,jerusalem 7,j7eru's4al7em74 ,jordan 7,jor'd4an74 ,judaea 7ju-de'4a74 ,keats 7kets74 ,kugler 7koog'ler74 ,layard 7,lay'4ard74 ,lemnian 7,l7em'n7i4an74 ,madonna 7,m4ad7on'n4a74 ,magdalene 7,m7ag'da-len74 ,marcella 7maer-s7el'4a74 ,matthew 7m7a'thu74 ,mater ,dolorosa 7ma'ter d7ol-4o-ro's4a or mae'tar do-lo-ro'sae74 ,maxentius 7m7aks-7en'sh7i-7us74 ,mars 7,maers74 ,meyer 7mi'er74 ,michelangelo 7me-k7el-aen'ja-lo74 ,milan 7m7il'4an or m7i-l7an'74 ,monica 7,m7on'7ic4a74 ,moore 7mor or moor74 ,moschus 7m7os'k7us74 ,morelli 7mo-r7el'4e74 ,nazareth 7,n7az'4ar7eth74 ,nicodemus 7n7ik-o-de'm7us74 ,noli me tangere 7no'l4e ma taen'g4a-r4a or no'li me t7an'j7e-r4e74 ,notte1 ,la 7lae not't4a74 ,numidia 7,num7id'7i4a74 ,palestine 7,p7al'7estine74 ,paolo 7,pae'olo74 ,parma 7,paer'mae74 ,patmos 7,p7at'm7os74 ,paula 7pa3'l4a74 ,pharisee 7f7ar'7i-se74 ,piacenza 7pe-ae-ch7en'dzae74 ,plato 7,pla'to74 ,pontius ,pilate 7p7on'sh7i-7us p7i'lat74 putti 7p7oot'te74 ,rabboni 7,r7abbo'n7i74 ,raphael 7rae'fa-7el74 ,rex ,regum 7raks ra'goom74 ,ricci1 ,corrado 7kor-rae'do ret'che74 ,ruskin 7,r7us'k7in74 ,sala del ,pergolato 7sae'lae d7el pair-go-lae'to74 ,scipione ,montino 7she-pe-o'n4a mon-te'no74 ,scodella 7sko-d7el'lae74 ,sebastian 7s4e-b7ast'y4an74 ,simmonds 7s7im'7undz74 ,symonds 7s7im'7undz74 ,syria 7s7ir'7i-4a74 ,te ,deum 7ta da'oom or te de'7um74 ,titan 7ti't4an74 ,titian 7t7ish'4an74 ,umbrian 77um'br7i-4an74 ,vasari 7vae sae're74 ,venus 7,ve'n7us74 ,vere1 ,aubrey de 7aa3'br7i de ver74 ,vulcan 7,v7ul'c4an74 ,vulgate 7,v7ul'gate74 ,wordsworth 7werdz'werth74 ,zebedee 7,z7eb'7edee74 99 99 99 99 99