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hypocritical, and sacerdotal. It was not Christianity indeed, but Catholicism galvanised by terror into reactionary movement" (Renaissance, vii. 232).

      A comparison even of this little picture – in its somewhat morbid sentiment – with such an one as Crivelli's (602) – with its deeper because simpler feeling – well illustrates the nature of the change. This is, however, one of Guercino's best works. It was formerly in the Borghese Gallery, and Rumohr, in his account of that collection (1784), notices it as one of the productions of the painter's best time. "The figure of Christ is admirable in drawing and foreshortening, and painted with a broad decisive touch in really astonishing relief; while the weeping angels, if not of an elevated type, are marked by a real naïveté and sincerity of pathos. The wonderful chiaroscuro is here not only rich, and well concentrated, too, beyond the painter's wont, but impressive, and duly accounted for by the supernatural luminosity of the body of Christ" (Portfolio, August 1891).

      23. "THE VIRGIN OF THE BASKET."

Correggio (Parmese: 1494-1534). See 10.

      A celebrated work of the master, and one of the principal treasures of the National Gallery – "a little gem of extraordinary tenderness," Mengs calls it; and Frizzoni, "an incomparable marvel of light, vivacity, and smiling sweetness." Alike in sentiment and in technique, it is very characteristic. A comparison of it with Raphael's great Madonna or any of those of the earlier masters (e. g. Bellini) will show in a moment wherein the peculiarity of Correggio consists. The mother has none of the rapt look of the woman who "laid these things in her heart," and the child has no prophetic sense of future suffering. There is nothing to mark the picture as representing the Holy Family except the introduction of Joseph, the carpenter, in the background. It is a picture painted solely in the "religion of humanity," and full only of artless grace and melodious tenderness. The child is full of play and fun; the mother (with the household basket which gives the picture its name – "La Vierge au panier") is dressing him, and has just succeeded in putting his right arm through the sleeve of his little coat, and is endeavouring by gentle stratagem to do the same with the left; but something has caught his fancy, and she shares in his delight, smiling with all a young mother's fondness at the waywardness of her curly-haired boy. "As a painting," says Sir Edward Poynter, "it is one of those masterpieces of perfect technicality, of brilliant purity of lighting and colouring, and of completeness of modelling in the flesh tints, combined with the utmost apparent ease of execution, which may well be the despair of painters for all time. As a design it is no less remarkable; for though of studied harmony in the arrangement of the forms it is so natural that all appearance of effort is lost, and we cannot conceive of the scene as being rendered in a more artless manner" (The National Gallery, i. 4).

      The date of this picture is uncertain. Some, liking to find in it a piece of the painter's own home-life, have dated it 1521-22, that is just after the birth of Correggio's first child. Others put it earlier in the artist's career, 1518. It is perhaps the picture which Vasari describes as in the possession of the Cavaliere Baiardi of Parma – "a marvellous and beautiful work by Correggio, in which Our Lady puts a little shirt on the Infant Christ." It was afterwards in the royal collection at Madrid, from which it passed by the gift of Charles IV. to Don Emanuele Goday, at whose instance it was subjected to a most rigorous cleaning. During the French invasion of Spain it fell into various hands, and in 1825 was bought for the National Gallery from Mr. C. J. Nieuwenhuys for £3800 – a sum, it has been calculated, that would "cover the little panel with sovereigns just twenty-seven times over."

      24. AN ITALIAN LADY AS ST. AGATHA

Sebastiano del Piombo (Venetian: 1485-1547). See 1.

      The nimbus around the head indicates the saint; the palm branch and the pincers indicate St. Agatha, who was "bound and beaten with rods, and her tender bosom was cruelly torn with iron pincers; and as her blood flowed forth, she said, 'O thou tyrant! shamest thou not to treat me so – thou who hast been nourished and fed from the breast of a mother?' And this was her only plaint." See also under 20.

      25. ST. JOHN IN THE WILDERNESS

Annibale Carracci (Eclectic-Bologna: 1560-1609). See 9.

      "And the child grew, and waxed strong in spirit, and was in the deserts till the day of his shewing unto Israel" (Luke i. 80). In his left hand is the standard of the Lamb, the symbol of his mission, for which he is preparing himself in the desert solitude, while with his right he catches water in a cup from a stream in the rocks, symbolical of the water by which that mission, the baptism unto repentance, was to be accomplished.

      26. THE CONSECRATION OF ST. NICHOLAS

Paolo Veronese (Veronese: 1528-1588).

      Paolo Caliari (called Veronese from his birthplace) stands, says Ruskin, in the forefront of the great colourists. "Titian, Veronese, and Tintoret were the only painters who ever sought entirely to master, and who did entirely master, the truths of light and shade as associated with colour, in the noblest of all physical created things, the human form." With Veronese, "the whole picture is like the rose – glowing with colour in the shadows, and rising into paler and more delicate hues, or masses of whiteness, in the lights." Contrasting the aims of Veronese with those of the great chiaroscurists, Ruskin says: "Veronese chooses to represent the great relations of visible things to each other, to the heaven above, and to the earth beneath them. He holds it more important to show how a figure stands relieved from delicate air, or marble wall; how as a red, or purple, or white figure, it separates itself, in clear discernibility, from things not red, nor purple, nor white; how infinite daylight shines round it; how innumerable veils of faint shadow invest it; how its blackness and darkness are, in the excess of their nature, just as limited and local as its intensity of light; all this, I say, he feels to be more important than showing merely the exact measure of the spark of sunshine that gleams on a dagger-hilt, or glows on a jewel. All this, moreover, he feels to be harmonious, – capable of being joined in one great system of spacious truth. And with inevitable watchfulness, inestimable subtlety, he unites all this in tenderest balance, noting in each hair's-breadth of colour, not merely what its rightness or wrongness is in itself, but what its relation is to every other on his canvas." In the tone of his colouring Paolo retained, as Sir F. Burton points out, much of the tradition of the Veronese school. "The silvery tone which differentiates his best works from the golden lustre of Titian was not gained in Venice, and under the lightsome skies of the lagoons he was not tempted to alter it." In the tone of his mind Veronese was thoroughly Venetian. It is a certain "gay grasp of the outside aspects of the world" that distinguishes him. "By habitual preference, exquisitely graceful and playful; religious, without severity, and winningly noble; delighting in slight, sweet everyday incident, but hiding deep meanings underneath it; rarely painting a gloomy subject, and never a base one" (Modern Painters, vol. iii. pt. iv. ch. iii. § 16; vol. iv. pt. v. ch. iii. § 18, ch. xx. § 16; vol. v. pt. ix. ch. iii. § 27; Cambridge Inaugural Lecture in O.O.R., vol. i. § 314). Thus Venetian in character, it is the Venice of his time – with all its material magnificence and pride of life of a nation of merchant princes – that Veronese everywhere paints. "Veronese," says Symonds, "elevated pageantry to the height of serious art. His domain is noonday sunlight ablaze on sumptuous dresses and Palladian architecture. Armour, shot silks and satins, brocaded canopies, banners, plate, fruit, sceptres, crowns – all things, in fact, that burn and glitter in the sun – form the habitual furniture of his pictures." It is characteristic of the spirit of his time that the pictures by Veronese of banquets and other scenes of gaiety were mostly painted for monasteries. The frank introduction of the costumes of the painter's own time, clothing the fine race to which he belonged, gives to his pictures of this kind an historical interest. Often he introduces portraits into his groups. In expression his figures are often deficient. "He will make the Magdalene wash the feet of Christ with a countenance as absolutely unmoved as that of any ordinary servant bringing an ewer to her master." Animal force in men, superb voluptuousness in women, were his favourite types. "His noblest creatures are men of about twenty-five, manly, brawny, crisp-haired, full of nerve and blood. In all this Veronese resembles Rubens. But he does not, like Rubens, strike us as gross, sensual, fleshly; he remains proud and powerful, and frigidly

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