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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.
He was a follower of Caravaggio. He visited Italy and found favour in Rome, where he got from his night-pieces Correggio's name, 'Della Notte. Honthorst was summoned to England by Charles I., for whom he painted several pictures. He entered the service of Prince Frederick Henry of Orange, and painted also for the King of Denmark.
He was invited to Mantua, where he painted from the mythology for the Duke of Mantua. Indeed, so far and wide had the preference for mythological subjects penetrated, that one of Correggio's earliest works was 'Diana returning from the Chase; painted for the decoration of the parlour of the Abbess of the convent of San Paulo, Parma.
This was followed, a year later, by a performance of Cefalo, one of the oldest of Italian dramas, a pastoral play composed by Niccolo da Correggio, chiefly taken from Ovid's "Metamorphoses," and which is said to have suggested the subjects of Correggio's famous frescoes in the Abbess of San Paolo's parlour at Parma.
It is said that when this painter saw one of the great works of Raphael, he exclaimed, enthusiastically and thankfully, "I, too, am a painter!" and no doubt he then felt himself moved to attempt such works as should make his name known to all the world through future centuries. When Titian saw Correggio's frescoes at Parma, he said: "Were I not Titian, I should wish to be Correggio."
The distinguishing feature of Correggio's work is his "putti." He delighted in these well-fed, unspanked and needlessly healthy cherubs. These rollicksome, frolicsome, dimpled boy babies and that they are boys is a fact which I trust will not be denied he has them everywhere! Paul Veronese brings in his omnipresent dog in every "Veronese," there he is, waiting quietly for his master.
He also was the first to paint church cupolas. Fore-shortening produces some peculiar as well as great results, and being a feature of art with which people were not then familiar, Correggio's work did not go uncriticised. Indeed one artist, gazing up into one of the cupolas where Correggio's fore-shortened figures were placed, remarked that to him it appeared a "hash of frogs."
His angels too, in S. Cristoforo as elsewhere, are quite original; not only in their type of beauty, which is terrestrial and peculiar to Ferrari, without a touch of Correggio's sensuality; but also in the intensity of their emotion, the realisation of their vitality.
There was nothing he disliked more than the kind of pretension which tries to make a knowledge of art a vehicle for self-importance. "Who," he said, "ought not to feel humble before a painting of Titian's or Correggio's? It is only when we feel so that we can appreciate a great work of art."
I do not say this by way of reproof to any other kind of children. These little groups, as I have said, were scattered all about the church; and they made with their tapers little spots of light, which looked in the distance very much like Correggio's picture which is at Dresden, the Holy Family at Night, and the light from the Divine Child blazing in the faces of all the attendants.
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