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But when she lay in bed, with her head under her arm, like a swan with his neck under his wing, and almost in the attitude of Correggio's Magdalen, her eyes, which sparkled with a feverish light, betrayed the fact that she had sought the solitude of her bed in order to indulge more freely in deep meditation.
It is miserable to see great works of art something of the Souls of Painters perishing and fading away, like human forms. This cathedral is odorous with the rotting of Correggio's frescoes in the Cupola. Heaven knows how beautiful they may have been at one time.
The same scenic arrangement may well have been used in the Orfeo, the lower stage representing Hades ; while Niccolò da Correggio's Cefalo was evidently acted on a polyscenic stage, the actors passing in view of the audience from one part to another . At a yet earlier period Italian writers in the learned tongue had taken as the subjects of their plays stories from classical legend and myth, and among these we find not only recognized tragedy themes such as the rape of Polyxena dramatized by Lionardo Bruni, but tales such as that of Progne put on the stage by Gregorio Corrado, both of which preceded by many years the work of Politian and Correggio.
Correggio's real name was Antonio Allegri, and he has his popular name from his birth-place of Correggio, now called Reggio; although at one time there existed an impression that Correggio meant 'correct, from the painter's exceedingly clever feats of fore-shortening.
Jane had by this time closed the lid of her desk, had moved out into the hall, and now stood on the top step of the entrance awaiting Lucy's ascent. In her gray gown, simple head-dress, and resigned face, the whole framed in the doorway with its connecting background of dull stone, she looked like one of Correggio's Madonnas illumining some old cloister wall. "Oh, you dear, DEAR sister!"
At the same time, the Caracci made Correggio's style the object of more serious study; and the history of Bolognese painting shows what was to be derived from this master by intelligent and conscientious workmen.
Dubois, a pupil of Regnault, had been to Rome, where he had seen Raphael's tapestries, which he set above all the masterpieces of the world. He admired Correggio's colouring, Annibale Caracci's invention, Domenichino's drawing, but thought nothing comparable in point of style with the pictures of Pompeio Battoni.
Nevertheless, composition the presiding, all-controlling intellect is just what makes itself felt by absence; and Correggio's special qualities of light and color have now so far vanished from the cupola of the Duomo that the constructive poverty is not disguised. Here, if anywhere in painting, we may apply Goethe's words Gefühl ist Alles.
I sympathize with the old abbess who chose to have her rooms frescoed with Correggio's happy cherubs, and who liked to have constantly before her, though in a convent, his goddess Diana, whose smile some one has said is full of "resolute sweetness." I remember once having to pass a bitter hour of waiting in the drawing-room of a physician well known for his high culture.
They had massed all the tapers in the center and formed a ring about the spectacle, sitting with their legs straight out before them and their toes turned up. The light shone full in their happy faces, and made the group, enveloped otherwise in darkness, like one of Correggio's pictures of children or angels.
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