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Then, look at any of Michael Angelo's finished drawings, or of Correggio's sketches, and you will see that the true nurse of light is in art, as in nature, the cloud; a misty and tender darkness, made lovely by gradation.
There was a "Virgin and Child," by Botticelli, and another by Perugini; "Our Lady of the Cat," by Baroccio; the exquisite "Vision of St. Helena," by Paolo Veronese; Correggio's "Ecce Homo"; and others less well-known; with a ghastly Crucifixion too painful to be endured, especially by a young girl, had not custom dulled all genuine perception of the horror of it.
I looked with some pleasure at one of Correggio's Madonnas in the Tribune, no divine and deep-thoughted mother of the Saviour, but a young woman playing with her first child, as gay and thoughtless as itself.
The mystic sympathies of "Leda and the Swan," as imaged severally by Lionardo and Michael Angelo; Correggio's romantic handling of the myths of "Danaë" and "Io;" Titian's and Tintoretto's rival pictures of "Bacchus and Ariadne;" Raphael's "Galatea;" Pollajuolo's "Hercules;" the "Europa" of Veronese; the "Circe" of Dosso Dossi; Palma's "Venus;" Sodoma's "Marriage of Alexander" all these, to mention none but pictures familiar to every traveller in Italy, raise for the student of the classical Revival absorbing questions relative to the influences of pagan myths upon the modern imagination.
Amorini the word can hardly be used without suggesting the gay babes who tumble deliciously among Correggio's clouds or who snatch flowers in ways of grace, on every sort of decoration. In these later drawings, these tapestry borders of say 1650, they are monsters of distortion, and resemble not at all the rosy child we know in the flesh.
Return of Beatrice to Milan Visit of Duke Ercole and Alfonso to Pavia Death of Duchess Leonora Beatrice's camora and Niccolo da Correggio's fantasia dei vinci Marriage of Bianca Maria Sforza to Maximilian, King of the Romans, celebrated at Milan Letter of Beatrice to Isabella d'Este Wedding fêtes and journey of the bride to Innsbrück Maximilian's relations with his wife Bianca's future life.
The royal ladies rode in the Duchess of Ferrara's chariot, a sumptuous carriage hung with purple, and were accompanied by Leonora herself and five other Sforza princesses Alfonso d'Este's wife, Anna; Duke Giangaleazzo's sister, Bianca Sforza; Signor Lodovico's daughter, Bianca, the youthful bride of Galeazzo Sanseverino; Madonna Beatrice Niccolo da Correggio's mother and Madonna Camilla Sforza of Pesaro.
A beginning had indeed been made. Certain of Correggio's effects of light, even more an occasional manner of treating the flesh and hair, reducing both form and colour to a kind of vague boss and vague sheen, such as they really present in given effects of light, a something which we define roughly as eminently modern in the painting of his clustered cherubs; all this is certainly a beginning of the school of Velasquez.
When in repose, the ensemble of his features was exceedingly pleasing and somehow reminded one of Correggio's St. John. He had left his native land because he was an ardent republican and was abstractly convinced that man, generically and individually, lives more happily in a republic than in a monarchy.
It was painted for the Pratoneri chapel in the church of S. Prospero at Reggio, but it was not fixed in its destined place till 1530. It is said that it was removed surreptitiously by order of Francesco I., the reigning Duke of Modena, who substituted a copy. The same story, however, is related of Correggio's Ancona, painted for the church of the Conventuals at Correggio.
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