DOI Page / Citation link:
https://doi.org/10.11588/diglit.48088#0478
60 CORREGGIO.
with unequalled subtlety. This is mainly achieved by the aid of what is termed chiaro
oscuro, the intermingling of light and shade in such a way that colour is perceptible in the
darkest parts, and the transition to the highest lights is effected by means of reflection and the
finest gradations of half tints. This chiaro oscuro is also an auxiliary in producing the effect of
nobility. The richest glow of colour and golden light when spread over the whole canvass, as
in Venetian paintings, gives a majestic repose to the picture. It is this play of light and shade
which flatters the senses, and gives the impression of nobility.
Among the earlier oil paintings of this period are two Madonnas of a purely idyllic char-
acter, and that picture of the virgin in Naples which on account of its fantastic head dress is
called “La Zingarella” the gipsy. She is sitting in a southern wooded landscape and is bending
over the sleeping child in her arms. Equal to this in originality is the little picture in the
National Gallery in London which is called the “Madonna della cesta,” or “Vierye au panier," on
account of a basket near the principal figure. The whole sentiment of this little gem is sub-
dued and tender like its colouring. Who thinks of the holy Virgin in looking at this picture?
We only see the mother and her child. The infant sits on her lap moving the little limbs in a
wonderfully natural way: she is trying to imprison the two little hands of the restless child on
which she looks down with the tender smile of maternal joy. In this picture we admire that
special quality which was observed in Correggio so early as the 16th century, viz. his natural
easy treatment of hair. With these idyllic pictures a somewhat larger painting in the Parma
Gallery must be classed; the “ Madonna della S co della” or “the little basin,” so called from a
vessel which the virgin who is seated holds in her hand. It represents the Holy Family resting
daring their flight. The wanderers have found a pleasant resting place in a wood which is so
painted as to give Correggio a place amongst the pioneers of Landscape art. They are attended
by numerous angels, one of whom is occupied in drawing water for them, while a second ties
' up the donkey, and a number of others, floating in the air bend down the palm branches from
which Joseph gathers dates for the child. The mother is looking at the boy with a happy smile
and eyes overflowing with bliss, whilst he is trying to catch her hand, and gazes at the spectator
with a lovely smile, as if wishing to draw him into the same happy mood.
In this same gallery hangs another picture, the “Madonna of St. Hieronymus” which was
also originally painted for a church in Parma. Here, if anywhere, the religious sentiment is
entirely lost in the sense of earthly bliss. The ecclesiastical style of grouping which had belonged
to the altar piece is abandoned. The Madonna is seated under a red canopy which is stretched
over trees, in the midst of a sunny landscape, and is surrounded by Saints. The attitude of the
■ powerful figure of St. Hieronymus opposite her is somewhat ungraceful, and there is nothing
i unusual in the feature and expressions of the angels, of the Virgin, or of the lively Child; nor
: does the angel who is holding up Magdalen’s box of ointment, as if intending to smell it, express
• any lofty idea. Yet how charming is the Magdalen herself, though certainly her attitude, as
J she lies on the ground with her face against the Child, is more that of a voluptuous woman
leaning on her lover than of a Saint bending before the Redeemer of the world. In looking
at the picture, however, we give ourselves over entirely to the sentiment of bliss it expresses
and think of nothing else. Our eyes travel from the Magalen’s fair hair, with which the fingers
of the divine Child are playing, to the exquisitely painted bare feet. The delicate flesh tints are
in harmony with the shining draperies and the glad cheerfulness of the scenery. Vasari said
of this picture that no one, however melancholy could look at it without being made joyful.
with unequalled subtlety. This is mainly achieved by the aid of what is termed chiaro
oscuro, the intermingling of light and shade in such a way that colour is perceptible in the
darkest parts, and the transition to the highest lights is effected by means of reflection and the
finest gradations of half tints. This chiaro oscuro is also an auxiliary in producing the effect of
nobility. The richest glow of colour and golden light when spread over the whole canvass, as
in Venetian paintings, gives a majestic repose to the picture. It is this play of light and shade
which flatters the senses, and gives the impression of nobility.
Among the earlier oil paintings of this period are two Madonnas of a purely idyllic char-
acter, and that picture of the virgin in Naples which on account of its fantastic head dress is
called “La Zingarella” the gipsy. She is sitting in a southern wooded landscape and is bending
over the sleeping child in her arms. Equal to this in originality is the little picture in the
National Gallery in London which is called the “Madonna della cesta,” or “Vierye au panier," on
account of a basket near the principal figure. The whole sentiment of this little gem is sub-
dued and tender like its colouring. Who thinks of the holy Virgin in looking at this picture?
We only see the mother and her child. The infant sits on her lap moving the little limbs in a
wonderfully natural way: she is trying to imprison the two little hands of the restless child on
which she looks down with the tender smile of maternal joy. In this picture we admire that
special quality which was observed in Correggio so early as the 16th century, viz. his natural
easy treatment of hair. With these idyllic pictures a somewhat larger painting in the Parma
Gallery must be classed; the “ Madonna della S co della” or “the little basin,” so called from a
vessel which the virgin who is seated holds in her hand. It represents the Holy Family resting
daring their flight. The wanderers have found a pleasant resting place in a wood which is so
painted as to give Correggio a place amongst the pioneers of Landscape art. They are attended
by numerous angels, one of whom is occupied in drawing water for them, while a second ties
' up the donkey, and a number of others, floating in the air bend down the palm branches from
which Joseph gathers dates for the child. The mother is looking at the boy with a happy smile
and eyes overflowing with bliss, whilst he is trying to catch her hand, and gazes at the spectator
with a lovely smile, as if wishing to draw him into the same happy mood.
In this same gallery hangs another picture, the “Madonna of St. Hieronymus” which was
also originally painted for a church in Parma. Here, if anywhere, the religious sentiment is
entirely lost in the sense of earthly bliss. The ecclesiastical style of grouping which had belonged
to the altar piece is abandoned. The Madonna is seated under a red canopy which is stretched
over trees, in the midst of a sunny landscape, and is surrounded by Saints. The attitude of the
■ powerful figure of St. Hieronymus opposite her is somewhat ungraceful, and there is nothing
i unusual in the feature and expressions of the angels, of the Virgin, or of the lively Child; nor
: does the angel who is holding up Magdalen’s box of ointment, as if intending to smell it, express
• any lofty idea. Yet how charming is the Magdalen herself, though certainly her attitude, as
J she lies on the ground with her face against the Child, is more that of a voluptuous woman
leaning on her lover than of a Saint bending before the Redeemer of the world. In looking
at the picture, however, we give ourselves over entirely to the sentiment of bliss it expresses
and think of nothing else. Our eyes travel from the Magalen’s fair hair, with which the fingers
of the divine Child are playing, to the exquisitely painted bare feet. The delicate flesh tints are
in harmony with the shining draperies and the glad cheerfulness of the scenery. Vasari said
of this picture that no one, however melancholy could look at it without being made joyful.