seriousness of their manner argues some mischief in view. Evidently
they are preparing for a great conquest. The arrow must not fail of
its work, but must be sharp enough to carry the sweet poison straight
to the victim's heart.
Both of the chubby fellows have rather large heads with clustering
ringlets. The wingless boy has the high, full forehead which marks an
active mind. Cupid seems to have the more energetic temperament of the
two, while his comrade is a bit of a dreamer.
Our picture is a charming illustration of Correggio's love of
children. As it was not the fashion of his time to paint children's
portraits, he had to make his own opportunities for the favorite
subject. How ingenious he was we have had occasion to see in our
study. When given a sacred subject to paint he filled all the
available spaces with child angels sporting in the clouds. With the
ceiling of a room to decorate, he covered the whole surface with a
band of little boys at play.
Our reproduction is a detail of a larger picture illustrating the myth
of Danae. The two little figures are in the lower right corner of the
canvas.
XVI
A SUPPOSED PORTRAIT OF CORREGGIO
Almost every celebrated painter has at some time in his life sat for
his portrait. Many have painted their own likenesses, not so much from
motives of vanity, but as a matter of artistic interest. Others have
posed as models to their fellow painters.
Correggio was an exception in this regard. The old biographer Vasari
made many efforts to procure a portrait, and concluded that "he never
took it himself, nor ever had it taken by others, seeing that he lived
much in retirement."
Our painter, as we have seen, was not a student of the face. Form and
expression did not greatly interest him. He busied himself chiefly
with problems of light and shade. This is perhaps the reason why he
never thought it worth while to paint his portrait. He was not a
traveller, and probably never visited any of the great art centres of
his time. So he made no friends among the contemporary painters who
would have been likely to make his portrait. In any case his busy life
left little time for any work for himself, and if he thought at all of
a portrait, he doubtless postponed it to some more convenient season.
Waiting for such a time, his career was brought suddenly to an end. He
died of fever in Correggio at the age of forty.
In the passing centuries one picture after another has been put
forward as a pretended portrait of Correggio. The painter's admirers
were always eager to believe that a real likeness had at last been
discovered. Though we cannot rely upon the genuineness of any of
these, some are very interesting.
Such an one is our frontispiece, from a painting in the Parma Gallery,
pointed out as Correggio's portrait. Whoever the original may have
been, the expression is certainly animated and intelligent. There is
much humor and kindliness in the face. The unknown artist should have
the credit for the gift of revealing the individual character of his
sitter.
Lacking an authentic portrait of the man Correggio, we have to content
ourselves with the short account of his character given by Vasari. "He
was a person," writes the biographer, "who held himself in but slight
esteem, nor could he ever persuade himself that he knew anything
satisfactorily respecting his art; perceiving its difficulties, he
could not give himself credit for approaching the perfection to which
he would so fain have seen it carried; he was a man who contented
himself with very little, and always lived in the manner of a good
Christian."
PRONOUNCING VOCABULARY OF PROPER NAMES AND FOREIGN WORDS
The Diacritical Marks given are those found in the latest edition of
Webster's International Dictionary.
EXPLANATION OF DIACRITICAL MARKS.
A Dash ([=]) above the vowel denotes the long sound, as in f[=a]te, [=e]ve,
t[=i]me, n[=o]te, [=u]se.
A Dash and a Dot ([.=]) above the vowel denote the same sound, less
prolonged.
A Curve ([)]) above the vowel denotes the short sound, as in [)a]dd,
[)e]nd, [)i]ll, [)o]dd, [)u]p.
A Dot ([.]) above the vowel a denotes the obscure sound of a in p[.a]st,
[.a]b[=a]te, Am[)e]ric[.a].
A Double Dot (") above the vowel a denotes the broad sound of a in
faether, aelms.
A Double Dot ([:]) below the vowel a denotes the sound of a in b[a:]ll.
A Wave (~) above the vowel e denotes the sound of e in h[~e]r.
A Circumflex Accent (^) above the vowel o denotes the sound of o in born.
A dot (.) below the vowel u denotes the sound of u in the French language.
N indicates that the preceding vowel has the French nasal tone.
G and K denote the guttural sound of ch in the German language.
th denotes the sound of th in the, this.
c sounds like s.
[-c] sounds like k.
[s.=] sounds like z.
[=g] is hard as in [=g]et.
[.g] is soft as in [.g]em.
Allegri (ael-l[=a]'gr[=e]).
Altius caeteris Dei patefecit arcana (ael't[=.e]-[)oo]s k[=i]'t[=.a]-r[=.e]s
d[=a]'[=e] pae-t[=a]-f[=a]'-k[)i]t aer-kae'nae).
Ambrose ([)a]m'br[=o]z).
Anacreon ([)a]n-[)a]k'r[=.e]-[)o]n).
Antonio (aen-t[=o]'n[=e]-[=o]).
Apollo ([.a]-p[)o]l'l[=o]).
Aphrodite ([)a]f-r[=.o]-d[=i]'t[=e]).
Artemis (aer't[=e]-m[)i]s).
Arimathea ([)A]r-[)i]-m[.a]-th[=e]'[.a]).
Athena ([)a]-th[=e]'n[.a]).
Augustine ([a:]'g[)u]s-t[=e]n).
Aurora ([a:]-r[=o]'r[.a]).
Austin ([a:]s't[)i]n).
Bayliss, Wyke (w[)i]k b[=a]'l[)i]s).
Bethlehem (B[)e]th'l[=e]h[)e]m).
Berenson (b[=a]'r[)e]n-s[)o]n).
Blashfield (bl[)a]sh'f[=e]ld).
Burckhardt (b[=oo]rk'haert).
Caesar (s[=e]'z[.a]r).
candelabrum (k[)a]n-d[=.e]-l[=a]'br[)u]m).
Carthage (kaer'th[=a]j).
Catherine (k[)a]th'[)e]r-[)i]n).
Caxton (k[)a]ks't[)u]n).
Cavaliere (kae-vae-l[=e]-[=a]'r[=.a]).
chiaroscuro (kyae-r[=.o]-sk[=oo]'r[=.o]).
Cicerone (ch[=e]-ch[=a]-r[=o]'n[=.a]).
Claudian (cl[a:]'d[)i]-[=.a]n).
Correggio (k[)o]r-r[)e]d'j[=o]).
Costus (k[)o]s't[)u]s).
Comus (k[=o]'m[)u]s).
Cupid (C[=u]'p[)i]d).
Cyprus (s[=i]'pr[)u]s).
Dalmatian (d[)a]l-m[=a]'sh[.a]n).
Danae (d[=a]'n[=.a]-[=e]).
Daphne (d[)a]f'n[=e]).
Diana (d[=i]-[)a]n'[.a] _or_ d[=i]-[=a]'n[.a]).
Ecce Homo ([)e]k'k[)e] _or_ [)e]k's[=.e] h[=o]'m[=o]).
Egypt ([=e]'j[)i]pt).
Endymion ([)e]n-d[)i]m'[)i]-[)u]n).
Ephesus ([)e]f'[=.e]-s[)u]s).
Ezekiel ([=e]-z[=e]'k[)i]-[)e]l).
Galilee (g[)a]l'[)i]-l[=e]).
Giorno, Il ([=e]l jor'n[=o]).
Giovanni Evangelista (j[=o]-vaen'n[=e] [=a]-vaen-j[=a]-l[=e]s'tae).
Guido Reni (gw[=e]'d[=o] r[=a]'n[=e]).
Hazlitt (H[)a]z'l[)i]tt).
Heilige Nacht (h[=i]'l[=.e]G-[)u] naeKt).
Heaton (h[=e]'t[)u]n).
Herod (H[)e]r'[)o]d).
Hesperus (H[)e]s'p[~e]r[)u]s).
Hippo (H[)i]p'p[=o]).
Horace (hor'[=.a]s).
Ignem gladio ne fodias ([=.e]g'n[)e]m glae'-d[=.e]-[=o] n[=a]
f[=o]'d[=.e]-aes).
Israel ([)i]z'r[=a]-[)e]l).
Jameson (j[=a]'m[)e]-s[)u]n).
Jerome (j[=e]-r[=o]m' _or_ j[)e]r'[)o]m).
Jerusalem (J[)e]r[=u]'s[.a]l[)e]m).
Jordan (Jor'd[.a]n).
Judaea (j[=u]-d[=e]'[.a]).
Keats (k[=e]ts).
Kugler (k[=oo]g'l[~e]r).
Layard (L[=a]y'[.a]rd).
Lemnian (L[)e]m'n[)i][.a]n).
Madonna (M[.a]d[)o]n'n[.a]).
Magdalene (M[)a]g'd[=a]-l[=e]n).
Marcella (maer-s[)e]l'[.a]).
Matthew (m[)a]'th[=u]).
Mater Dolorosa (m[=a]'t[~e]r d[)o]l-[=.o]-r[=o]'s[.a] _or_ mae't[=a]r
d[=o]-l[=o]-r[=o]'sae).
Maxentius (m[)a]ks-[)e]n'sh[)i]-[)u]s).
Mars (Maers).
Meyer (m[=i]'[~e]r).
Michelangelo (m[=e]-k[)e]l-aen'j[=a]-l[=o]).
Milan (m[)i]l'[.a]n _or_ m[)i]-l[)a]n').
Monica (M[)o]n'[)i]c[.a]).
Moore (m[=o]r _or_ m[=oo]r).
Moschus (m[)o]s'k[)u]s).
Morelli (m[=o]-r[)e]l'[=.e]).
Nazareth (N[)a]z'[.a]r[)e]th).
Nicodemus (n[)i]k-[=o]-d[=e]'m[)u]s).
Noli me tangere (n[=o]'l[=.e] m[=a] taen'g[=.a]-r[=.a] _or_ n[=o]'l[=i]
m[=e] t[)a]n'j[)e]-r[=.e]).
Notte, La (lae n[=o]t't[=.a]).
Numidia (N[=u]m[)i]d'[)i][.a]).
Palestine (P[)a]l'[)e]st[=i]ne).
Paolo (Pae'[=o]l[=o]).
Parma (Paer'mae).
Patmos (P[)a]t'm[)o]s).
Paula (p[a:]'l[.a]).
Pharisee (f[)a]r'[)i]-s[=e]).
Piacenza (p[=e]-ae-ch[)e]n'dzae).
Plato (Pl[=a]'t[=o]).
Pontius Pilate (p[)o]n'sh[)i]-[)u]s p[)i]'l[=a]t).
putti (p[)oo]t't[=e]).
Rabboni (R[)a]bb[=o]'n[)i]).
Raphael (rae'f[=a]-[)e]l).
Rex Regum (r[=a]ks r[=a]'g[=oo]m).
Ricci, Corrado (k[=o]r-rae'd[=o] r[=e]t'ch[=e]).
Ruskin (R[)u]s'k[)i]n).
Sala del Pergolato (sae'lae d[)e]l pair-g[=o]-lae't[=o]).
Scipione Montino (sh[=e]-p[=e]-[=o]'n[=.a] m[=o]n-t[=e]'n[=o]).
Scodella (sk[=o]-d[)e]l'lae).
Sebastian (s[=.e]-b[)a]st'y[.a]n).
Simmonds (s[)i]m'[)u]ndz).
Symonds (s[)i]m'[)u]ndz).
Syria (s[)i]r'[)i]-[.a]).
Te Deum (t[=a] d[=a]'[=oo]m _or_ t[=e] d[=e]'[)u]m).
Titan (t[=i]'t[.a]n).
Titian (t[)i]sh'[.a]n).
Umbrian ([)u]m'br[)i]-[.a]n).
Vasari (vae sae'r[=e]).
Venus (V[=e]'n[)u]s).
Vere, Aubrey de (a[a:]'br[)i] d[=e] v[=e]r).
Vulcan (V[)u]l'c[.a]n).
Vulgate (V[)u]l'g[=a]te).
Wordsworth (w[~e]rdz'w[~e]rth).
Zebedee (Z[)e]b'[)e]d[=e][=e]).
* * * * *