Puslapio vaizdai

leetle daughtere air-r much upon my medi- few more touchingly funny sights than that littation. I weis zey have ze bess condition tle man sitting cross-legged on the floor of Jane's possible.”

old sitting-room, making feminine fripperies of Andy stopped with the uplifted glass half-way an unmistakably Parisian character, frivolous to his mouth, and began with a troubled coun- and modish, airy and coquettish, to be worn tenance scrupulously to study its contents. by his favorite, the faithful but stolid Janey.

• My fatere was one taileur, Mees-tere An- He sits there yet, bald, a little shaky, andee,” Blossier inexplicably proceeded, putting noyingly dim of sight, but still enjoying turnhis glass down on the step, and talking eagerlying out, for Janey's babies now, such dainty with outstretched palms, “ and my moo-tere confections of laces and ribbons as no other was — was —she make toy, mose delicate wiz fingers in Strathboro' have ever concocted. fin-gere, et moi, me— I help, I help bote when Strathboro' has long ago accepted Andy I leetle, when I biggere.”

M'Grath's establishment — for Andy still heads Andy had forgotten his glass now, and was it - as one of its peculiar possessions, and takes staring and yet trying to look polite and not too much pride in it; and Jimmy Pendleton, who conscious of the strangeness of French ways. buys goods in Memphis, or one of Judge Cald

“ And, Mees-tere Andee, my fin-gere also, well's granddaughters, who is a belle and visits alway, even now-I sew for my clo'es my-se'f the best people from Louisville to New Orleans, alway, you not know? I know I do ainy t'ing or any of the most traveled residents of the zat way easee, beautiful; and ze manière, ze place, will tell you again and again that the politeness, ah, Mees-tere Andee, you know ze fame of its French and its Frenchman has gone French peepul zey have ze manière ; I teach abroad as far as west Tennessee and southern ze leetle daughtere all, I keep ze houze, I sew Kentucky and even northern Alabama. ze clo'es, so not in Strathboro’ is such clo'es, Janey only, of the children,- with her husMees-tere Andee, si vous peremeet me, Mees- band and her children, — lives in the old place; tere Andee, come chez vous, to your houze- the rest are married and scattered, and Andy you comprehend ?”

and Blossier seem to depend on each other By this time Blossier was standing on the more and more as the years go by. They never walk in front of Andy, rapidly pantomiming had anything to say to each other, and they his ideas, and pleading with gesture as well as have nothing now, but they love to sit side by with voice, as if begging that children of his side on the gallery on summer evenings, or by own should be cared and labored for by Andy. the open fire in winter, as might two roughFor a moment Andy stared on in silence, and coated, long-acquainted old dogs, and with no Blossier's heart was in his mouth; then he got more sense of failure of companionship in the up, caught and wrung the Frenchman's hand silence. Each understands how past and presan instant, dropped it, and, turning his back, ent are mingled in the other's mind, as Janey's pulled his old soft hat over his face. children tumble about, nightgowned for their

Two days later Strathboro' had the enor- final romp; and each knows the dear figure mous excitement of seeing Blossier's household that as wife or patron saint is ever in the other's gods — a queer little cart-load they made — thoughts, though Jane M'Grath has been burmoved to Andy M'Grath's house, and behind ied so long that even in this small world she is the cart walked Blossier, carrying our old friend become to others little more than a name on a the double-bass.

tombstone; and together these two look forSo was established the oddest household ward quite trustfully to the time when their south of Mason and Dixon's line.

names also shall be on tombstones. And, truly, It was a year before Strathboro' sounded the if there is assurance for the merciful and the full depths of its oddity, and ceased to vibrate meek and the pure in heart, for the salt of the with the excitement of fresh discovery. Blos- earth in short, as to that veiled and awful door sier took completely a woman's place in the through which poor humanity is always crowdhousehold economy, and the world has seen ing, they may be assured.

Viola Roseboro'.





HEfather of the painter be recognized as the painter's early work, pre

known, from the in- ceding these altarpieces, but already of well-
significant little town formed manner, may be accepted a panel lately
between Modena and discovered in London, “Christ taking Leave of
Mantua in which he Mary before the Passion,” a Madonna and
was born, as Correg- Child at Hampton Court, and some minor
gio, was a clothier, but works at Milan.
the uncle of the artist, In 1518, when twenty-four years old, Cor-
Lorenzo Allegri, was reggio came to Parma, his fame preceding him,

a painter of the local and he received at once important commisschool of art, of which the head was Antonio sionis. Donna Giovanna, abbess of the ConBartolozzi. It is probable that Antonio Allegri vent of St. Paul, commissioned him to paint was a pupil in the school. All that we know the ceiling of the great chamber in a fine suite is that he was set to work in an artist's studio of rooms occupied by her. The fresco repreat an early age, and next appears as a master, sents a vine-covered trellis in which are sixteen painting the churches of his native town in a oval apertures through which the blue sky apstyle which for individuality and power of a cer- pears, and in every opening there is a group of tain kind must remain a problem. The chroni- little genii playing with hunting-trophies. Sixclers have not failed to suggest solutions in at- teen lunettes underneath contain mythological tributing his education to certain masters; but scenes in chiaroscuro of gray. Over the mantel evidence is lacking for any authoritative state- is Diana mounting her chariot. Classical conment of that kind, nor does Correggio's ma- vention is disregarded in the mythology, and tured style grow naturally out of that of any of perspective in the architectural design; in these his contemporaries or predecessors of whom we particulars, as in his method of painting, Corknow, unless it may show a slight early tinge of reggio refuses to be other than his own master, the school of Ferrara. There is no proof that It is not known when this decoration was finhe went to Rome or came under the influence ished, but in 1519 the painter was at home of Raphael or Michelangelo, or that he studied again, called there by a lawsuit, which he fiunder Da Vinci. It is useless to spend conjec- nally gained in 1528, and which concerned a tures on origins or supposed influences which legacy left him by a maternal uncle. During are not recorded in the work of the painter. the year 1519, however, he was a not infreOur first positive information of him is that quent visitor to a fair daughter of Parma, the when twenty years of age, and therefore not orphan child of an esquire of the Duke of legally capable of making a contract, he and his Mantua; and she became his wife at the end of father were called to the convent of the Minor the year. In 1521 he had a son born, and soon Brethren of S. Francesco in Correggio, to after moved to Parma, where he resided until make arrangements for the execution of an 1530, when, having lost his wife, he returned altarpiece, the price for which was fixed at to his native town. Here he possessed two one hundred ducats. This was in August of houses and some land, and was in favor with 1514; and in the following April the picture the ruling family, as appears from his being was delivered, having been executed, as is a witness for the marriage-contract of the shown by a memorandum of the delivery of daughter of the lord, Gian Battista. the panel for the work, since the previous In 1521 Correggio signed an agreement for November. The picture represents the Ma- the decoration of the cupola and the apse of donna and Child with St. Francis and three S. Giovanni of the Benedictines of Parma, for other saints, and is now in the Dresden Gal- which work he was paid 272 gold ducats in lery. It is signed “Antonius de Alegris P." 1524, 30 having been paid in advance. The In the town of Correggio there remains an altar- paintings in the apse seem to have been repiece in the church of Sta. Maria della Miseri- moved in 1587, and are now in the museum cordia, representing Saints Leonard, Martha, of Parma, except two fragments in London: Mary Magdalen, and Peter. Of what may those of the cupola are still in place. While

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at work on the painting of S. Giovanni, in the in his native town, nor does there seem to be autumn of 1522, negotiations were entered any foundation for the ingenious stories of his into with the painter by the chapter of the dying from the over-exertion of carrying home Duomo of Parma for painting the choir, with a sack of copper coin with which certain monks its chapel, and the dome, in fresco. He was were said to have paid him for his work. He to receive 1000 ducats for the whole; and as left a son, Pomponio, who was also a painter, the payment was made by instalments be- and one of his three daughters survived him, tween the years 1526 and 1530, it is probable as did his parents. He died March 5, 1534, that the work was completed in that period, when scarcely forty years old. though the choir seems to have been thrown No one of the great painters of the Renaisout of the contract. In the design of the sance has provoked greater extremes of appredome the base of the vault is surrounded by ciation than Correggio. A great painter he a balustrade, on which sit little angels, and certainly was, with certain powers developed which represents the tomb of the Virgin; the to the highest degree attained by Italian art, dome represents the sky, with clouds through but with a seductive technical mastery which which the Madonna is carried up to the wait- has been a false light to all students who have ing company of saints surrounded by angels, come after him. In his catalogue of the Nationthe whole suffused in a golden light. The al Gallery, Sir

The al Gallery, Sir F. W. Burton has given a most good people of Parma, whether clerics or lay- admirable summary of the qualities of Corregmen, were not pleased with the work; but one gio's art, to which I am disposed to make only of the chroniclers reports that Titian saw the one dissent,— from the attribution to him of dome, and was much pleased with it, which any power over the imagination, — when he may be true, as Titian is recorded as having says: “None before him had shown the cabeen in Parma in 1530.

pacity of painting to affect the imagination Of the easel-pictures of this period, the (irrespective of subject) by the broad massing “ Betrothal of St. Catherine," now in the of light and shadow, by subordinating color to Louvre, was painted about 1519. There is breadth of effect and aërial perspective, and by a small replica of it in Modena in a private suggesting the sublimity of space and light.” collection. The “ Madonna del Coniglio” at In that intellectual side of art in which the imNaples is of this period, as are the “Madonna agination resides, Correggio seems to me sinand Child with St. John" in the Prado at Ma- gularly torpid and devoid of any gift akin to drid, together with a “Noli me Tangere”; also the inspiration which quickens imagination, if several pictures at Parma, in the gallery, and indeed it is not identical with it. The sensua “St. Sebastian,” painted in 1515 for a gild ous, the splendor of surface, the magic of exeof archers of Modena. The “Madonna Kneel. cution, the mastery of color-harmonies and of ing by the Child” of the Uffizi is probably of composition of light and shade,- the great this time, as well as the“Christ at Gethsemane” technical, but purely technical, qualities of of the National Gallery in London. The“Holy painting,—are all that I can admit to CorregNight,” now at Dresden, was commissioned in gio; and the proof that he had little besides 1522

and put in its place in the church of S. these lies in the fact that a translation of his Prospero in Reggio di Emilia in 1530, the work into any medium in which his technic price for it being recorded as 208 lire. It has is lost becomes almost too commonplace for been sought to identify the well-known “Mag- study. Burton says of him: dalen Reading," at Dresden, with the painting described by Vittoria Gambara in a letter to The proportions of his figures are frequently Beatrice d'Este in 1528; but it does not cor- faulty. "The grace which fascinates us tends to respond with the description, which is of a degenerate into affectation, and movement into Magdalen kneeling in a cave, with hands tumult. . . . In the management of the brush raised in prayer, and has now been conclu- he has been excelled by few and surpassed by sively determined not to be by Correggio. none, and his mode of execution and his colorOf the mythological subjects painted by the ing are as peculiar to him as his other qualities.

His flesh-tones are rich and warm, or cool and artist, the best preserved is the "Antiope" in opalescent, with infinitely subtle modulations and the Louvre. The “Mercury Instructing Cu- transitions. The harmonies he sought differ from pid,” in the National Gallery in London, is those of the great Venetians. Full colors he used one of the most important subjects of this class with powerful effect in his oil-pictures, but he was that we have, and the “ Danaë" in the Bor- fond of quiet tertiaries. His general abstention ghese Gallery at Rome is the most masterly of from green, which plays so conspicuous a part in Correggio's nude subjects. The “Ganymede" the Venetian system of color, is remarkable. and the “ Io” are at Vienna, and the “Leda" is at Berlin.

But he concludes with a sentiment which is Correggio spent his last years in retirement echoed by most earnest critics :


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Taking this great genius by himself, it is neither imagination in his conception nor difficult to overestimate his powers. But the in- depth in his sentiment; he ran the old and fluence he exercised upon later art was more the new mythology through the same fusion baneful than otherwise.

into the same molds. While his splendid work

manship redeems many deficiencies, his sucThe quality of Correggio which to a painter cesses and their cheapness, when measured by is more than any other the sign of his immense the larger scale of values, made him one of power is in his touch, the richness and deci- the greatest dangers to those who, coming afsion of his impasto, and the marvelous sweep ter him, caught his vein of feeling and learned of his brush. It is this evidence of power, the to content themselves with what lies on the fascination of this supreme knowledge of his surface. His influence can have been only subject and facile success in rendering it, which “baneful” and never “otherwise"; for the exgive the spectator the impression of a greater ample of shaking off conventional limitations force beyond, which did not exist. His con- in treatment of religious subjects had been ceptions are merely pictorial, but, as compared given before, and in wiser measure. In Corregwith anything before him, peculiarly picto- gio independence in conception of religious rial; there was neither religious exaltation nor themes becomes profanity. His was the end recognition of any religious ideal; there was of religious painting.

W. J. Stillman. NOTES BY TIMOTHY COLE. T THE“Madonna and Child in Glory," by Correggio, tions, covering her breast and her sleeve, are of a soft,

is an early work of that master. It hangs in the dull red. The blue robe that salls over her head and Uffizi Gallery, in the Sala della Scuola Italiani, next to shoulders has a lining of green. It is turned up over the Tribuna. It is of small dimensions, not measuring the forehead, and falls over the shoulder. The drapery more than 6% inches by 974 inches, so that my repro- of the knees is of a fine, rich tone of blue. The fleshduction of it is but little smaller than the original. It tints of the Madonna and Child are in cool, pearly, is a brilliant and charming little gem, naive and sweet bright colors. The angel playing on the viola is clad in conception. The colors are rich and glowing. The in a grayish blue robe, purplish in the shadows. The background is of a bright, soft yellow, with delicate hair of this angel is of a soft brown, and the viola is of rays shooting through it from the brighter nimbus a soft yellow color. The clouds in the foreground are about the Madonna's head; the clouds about are of of cool, bright tints. I have endeavored to give some soft, warm gray tones, and the cherubs' heads melting of the force and brilliancy of the original by an admixinto them are of warm flesh-tints. The angel with the ture of fine and coarse cutting, for a coarse line gives a lyre and the woeful expression to the right of the Ma- sparkle to the tint, while by a fine line we can get a donna is clad in a yellow robe, soft and rich. Her hair dull, soft gray. Thus the foreground clouds owe much is yellow, and the dark wing which is seen at the back of their brilliancy to the contrast of the soft, fine gray is of a rich, deep crimson. The lyre is yellow like gold, cutting of the background, and the brightness of the and the flesh pearly and bright. Why has the artist fesh-tints is enhanced by their juxtaposition to finer given this angel so sad a countenance ? It is perhaps work. a prophetic note of the suffering and sacrifice to come, This work of Correggio is under the name of Titian, though all is joy and glory now. The drapery of the but the authorities are unanimous in ascribing it to Madonna is, for the most part, blue. The under por. Correggio.



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