Correggio Part 6

[Footnote 27: E. H. Blashfield in _Italian Cities._]

Our ill.u.s.tration shows a portion of the octagonal cornice. The design is a simulated balcony ornamented with tall candelabra. In front stand the apostles grouped in twos at the corners. On the top of the bal.u.s.trade, in the s.p.a.ces between the candelabra, sport a band of genii, or heavenly spirits.

The four apostles are men of giant frames with broad shoulders and stalwart limbs. They are of middle age, heavily bearded, and all look much alike. It would be impossible to call one Peter, and another Paul, or to identify any particular persons. Evidently it was not the intention of the artist to distinguish individuals. All the figures are turned with lifted faces towards the vision in the dome. Each expresses, by a gesture, the wonder, joy, rapture, or admiration aroused by the spectacle. Their att.i.tudes are somewhat extravagant and self-conscious. The drapery, too, is rather fantastic, flung about their figures, leaving arms and legs bare. Were the picture taken out of its surroundings it would scarcely suggest a Christian subject.

These colossal beings are like t.i.tans moving through the figures of a sacred dance, and murmuring the mystic incantations of some heathen rite.

[Ill.u.s.tration: APOSTLES AND GENII _Cathedral, Parma_]

But we must not press our interpretation too far. The panel should be studied for its decorative quality as a part of a larger scheme.

Viewed from below, this procession of figures must be exceedingly effective. The emphasis of lines is diagonal, flowing in the direction of the focal point of the whole decoration.

The genii of the bal.u.s.trade are beings of Correggio's own creation.

His imagination called forth a world of spirits without a counterpart in the work of any other painter. Lacking the wings usually given in art to angels, they also lack the proper air of sanct.i.ty for heavenly habitants. Yet they are far too ethereal for mortals. Neither angel nor human, they are rather sprites of elf-land. With their tossing hair and agile motions they remind us of woodland creatures, and they look shyly out of their eyes like the furtive folk of the forest.

They are sportive, but not mischievous, in the human sense. They frolic in the pure delight of motion. By mortal standards of age they are between childhood and youth, when limbs are long and bodies supple. Their only draperies are narrow scarfs which they twist about them in every conceivable way.

Of the seven figures seen in our ill.u.s.tration, two only have any ostensible purpose to serve. One seems to be lighting a candelabrum with a flambeau; another carries a bowl which may be used for incense.

The others are idlers. If they have any duties as acolytes, these are for the moment forgotten. Several are attracted by the ceremonies in the cathedral and look down from their high perch upon the worshipping congregation.

The sprite at the extreme right is seated, and peeps over his shoulder with a rather dreamy expression. Next come two who are playing together, one throwing up his left arm as if to balance himself.

Beyond the candelabrum is one whose parted hair and coquettish pose of the head give a feminine look to the figure. The sprite in the centre of the bal.u.s.trade is the most winsome of the company. His bright eyes have spied out some one in the congregation, and stooping, he points directly at the person. His expression is very roguish. The little fellow with the flambeau is at the left, and last is one whose face is turned away towards the imaginary s.p.a.ce behind the balcony.

Our ill.u.s.tration gives us a general idea of Correggio's decorative method. The human body was his material; his patterns were woven of nude figures, posed in every possible att.i.tude. Every figure is in motion, and the whole mult.i.tude palpitates with the joy of living.

XII

ST. JOHN THE BAPTIST

In one of the pendentives of the cupola in the Parma Cathedral is the figure of St. John the Baptist reproduced in our ill.u.s.tration. The background is made to resemble somewhat the interior of a sh.e.l.l. On billows of clouds sits the prophet, with a lamb in his arms, and a circle of angels playing about him.

St. John the Baptist was a cousin of Jesus, and the first to recognize the true character of the carpenter's son. While Jesus was still living in obscurity in Nazareth, John went forth to preach in the wilderness about the river Jordan. His manner of life was very singular. He "had his raiment of camel's hair and a leathern girdle about his loins; and his meat was locusts and wild honey."[28]

[Footnote 28: St. Matthew, chapter iii., verse 4.]

The preacher was stern in denouncing sin and in warning evil-doers of the wrath to come. The burden of all his sermons was, "Repent, for the kingdom of heaven is at hand." When the people asked him what they ought to do, his answers were full of common sense. "He that hath two coats, let him impart to him that hath none; and he that hath meat, let him do likewise." To the tax-collectors, he said, "Exact no more than that which is appointed you;" to the soldiers, "Do violence to no man, neither accuse any falsely."[29]

[Footnote 29: St. Luke, chapter iii.]

The authorities sent from Jerusalem to question the claims of the strange preacher; but his reply was in the words of the old Hebrew prophet, "I am the voice of one crying in the wilderness."[30]

[Footnote 30: St. John, chapter i., verse 23.]

It was the custom of John to baptize his converts in the river Jordan.

One day Jesus presented himself for baptism, and John saw in him one whose shoe's latchet he was not worthy to unloose. At once he proclaimed him to the people as the "Lamb of G.o.d who taketh away the sins of the world."[31]

[Footnote 31: _Ib._, verse 29.]

With the entrance of Jesus upon his ministry, John's work was fulfilled. "He must increase, but I must decrease," said the prophet humbly.[32] He was soon after cast into prison by King Herod, whose vices he had openly rebuked. Thence he was taken out only to be executed.

[Footnote 32: St. John, chapter iii., verse 30.]

It must be confessed that Correggio cared very little about making a true character study of St. John. There is not much in the figure of our pendentive to suggest the stern and fearless prophet of the wilderness. The humility of the countenance is perhaps the feature most appropriate to the character. The shy, haunting expression in the eyes is, too, such as belongs to one who, like St. John, lived much alone in the woods. The tunic is short and sleeveless, showing the strong limbs of the hermit.

[Ill.u.s.tration: ST. JOHN THE BAPTIST _Cathedral, Parma_]

For the rest, the Baptist's face has the same gentle amiability we have already seen in St. Matthew and Joseph. The type is a common one with Correggio. A certain resemblance runs through nearly all his male figures, whether of smooth-faced youth, bearded manhood, or h.o.a.ry old age.

The tenderness of St. John for his little lamb is the chief motive of the picture. He carries it on his left arm, supporting the weight on his knee, and the innocent creature puts its nose close to the prophet's face. The lamb is the accepted symbol of St. John the Baptist, in allusion to the words with which he addressed Jesus at the Jordan, "Behold the lamb of G.o.d." The same figure is used in the book of Revelation, where the Lamb is described "in the midst of the throne." Standing for the person of Christ himself, St. John holds the sacred emblem with reverence. To understand why his face is lifted in this direction we must remember that his glance is directed toward the vision in the dome just above.

The angel figures of this pendentive are among the most beautiful and characteristic of the myriad throng of the cupola. The impression made by this great spirit company upon one standing beneath the dome has been described in some lines by Aubrey de Vere:--

"Creatures all eyes and brows and tresses streaming, By speed divine blown back; within all fire Of wondering zeal, and storm of bright desire.

Round the broad dome the immortal throngs are beaming, With elemental powers the vault is teeming; We gaze, and gazing join the fervid choir, In spirit launched on wings that ne'er can tire."

While the spirits in the upper part of the cupola are ma.s.sed so closely together that we do not see the full beauty of each one, these in our picture may be studied separately. There are six in all, and their purpose is to call the attention of the worshippers to the prophet. The two in the rear, whose bodies are hidden in the clouds, gaze upon him adoringly. One on each side points with outstretched finger to the lamb, as if repeating the Baptist's words, "Behold the lamb of G.o.d." The angel astride the cloud in front was interrupted in the same task by a little fellow suddenly shooting out from the clouds beneath him. He peers into the opening at one side, but still lifts his left hand towards the prophet above him.

The six figures are arranged in a semicircle, and their slender limbs and lithe bodies trace rhythmic lines of grace. The most charming of the company is perhaps he at the right, whose eyes meet ours with a bewitching smile.

XIII

CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN

(Noli me tangere)

It was Sunday, the third day after the crucifixion of Jesus. Early in the morning, while it was yet dark, a young woman made her way to the rock-hewn tomb in the garden of Joseph of Arimathea. It was Mary Magdalene, whom Jesus had rescued from a life of sin. Much had been forgiven her, therefore she loved much. In her sorrow she came to visit the spot where the body of her crucified Master had been laid.

Great was her surprise to find that the stone placed at the entrance of the tomb had been rolled away. In her perplexity, she ran to tell the disciples Peter and John. They all hurried back together to the garden, and the two men, entering the tomb, found it empty. Unable to explain the mystery, they presently returned home, leaving Mary still standing without the sepulchre weeping.

"And as she wept, she stooped down, and looked into the sepulchre, and seeth two angels in white sitting, the one at the head, and the other at the feet, where the body of Jesus had lain. And they say unto her, Woman, why weepest thou? She saith unto them, Because they have taken away my Lord, and I know not where they have laid him.

"And when she had thus said, she turned herself back, and saw Jesus standing, and knew not that it was Jesus. Jesus saith unto her, Woman, why weepest thou? whom seekest thou? She, supposing him to be the gardener, saith unto him, Sir, if thou have borne him hence, tell me where thou hast laid him, and I will take him away. Jesus saith unto her, Mary. She turned herself, and saith unto him, Rabboni; which is to say, Master.

"Jesus saith unto her, Touch me not; for I am not yet ascended to my Father: but go to my brethren, and say unto them, I ascend unto my Father, and your Father; and to my G.o.d, and your G.o.d."[33]

[Footnote 33: Chapter xx. of the Gospel according to St. John, verses 11-17.]

Our picture ill.u.s.trates the story of that first Easter morning. Jesus has greeted Mary by name, and she has instantly recognized the Master.

Sinking on her knees, she would have impulsively stretched out her hands to him, but he repels her with a gesture. Awe-struck, she gazes into his face, while he explains the message she is to carry to the disciples.

[Ill.u.s.tration: CHRIST APPEARING TO MARY MAGDALENE IN THE GARDEN (NOLI ME TANGERE) _Prado Gallery, Madrid_]