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Updated: June 14, 2025
Over the mantel-piece hangs a crayon copy of Correggio's Reading Magdalen, the only touch of sentiment in the whole room, and that, perhaps, accidental. The concrete nature of the President's surroundings is at first perplexing, in view of our theory about his character.
Joseph trudging on behind with his lily-decked staff, looking all as if they were on a short leave of absence from Correggio's picture-frame. Demas comes back, calls up his merrymen, and has a battle-royal with the enraged legionaries, which puts the critics of the gallery into a frenzy of delight and assures the success of the spectacle.
I turned, and saw her approaching. With swift grace she ran up to me as eagerly as a child, her heavy cloak of rich Russian sable falling back from her shoulders and displaying her glittering dress, the dark fur of the hood heightening by contrast the fairness of her lovely flushed face, so that it looked like the face of one of Correggio's angels framed in ebony and velvet.
The Eclectics of Bologna, in the seventeenth century, sought to combine Raphael's perfection of drawing and composition, Michelangelo's sublimity and his mastery of the figure, and Correggio's sweet sentiment and his supremacy in the rendering of light and shade, fondly supposing thus that the sum of excellent parts is equivalent to an excellence of the whole. This is false idealism.
They aimed to unite such a style as Correggio's who belonged to no school with that of the severely mannered artists of the preceding centuries. These artists were called Eclectics, and the Bolognese school of the Carracci was the most important centre of the movement, while Domenichino, a native of Bologna 1581-1631 was the most distinguished painter of the school.
So, during our various meanders, I kept my eye with a steady resolve on this place. I confess I went out to see the painting without much enthusiasm. My experience with Correggio's Notte, and some of the celebrities of Dresden, was not encouraging. I was weary, too, with sightseeing.
The engraving presents a design which we doubt not was Correggio's, for it corresponds in all particulars to the style and spirit of the master. To be critical in dealing with so successful an achievement of restoration and translation is difficult. Yet it may be admitted once and for all that Toschi has not unfrequently enfeebled his original.
Nevertheless, composition the presiding all-controlling intellect is just what makes itself felt by absence; and Correggio's special qualities of light and colour 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.
His successors, attracted by an intoxicating loveliness which they could not analyse, which had nothing in common with the reason or the understanding, but was like a glamour cast upon the soul in its most secret sensibilities, threw themselves blindly into the imitation of Correggio's faults.
In this respect Correggio might be termed the Rossini of painting. The melodies of the 'Stabat Mater' Fac ut portem or Quis est homo are the exact analogues in music of Correggio's voluptuous renderings of grave or mysterious motives.
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