File:The midsummer of Italian art (1911) (14596223059).jpg

Identifier: midsummerofitali00stea (find matches)
Title: The midsummer of Italian art
Year: 1911 (1910s)
Authors: Stearns, Frank Preston, 1846-1917
Subjects:
Publisher: Boston, R.G. Badger, Gorham Press
Contributing Library: Robarts - University of Toronto
Digitizing Sponsor: University of Toronto

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ling beforethis period began, and for Paul and Tintoretto thatthey came after it had ended. The gentle Correggiohad no idea of resisting its influence, but he allowedthe classic revival to percolate through him, likewater through a filter, leaving its impurities mostlybehind. He was invited to Parma almost at thesame time that Raphael was painting the Triumphof Galatea, a work of similar character to the frescosof Correggio in the convent of San Paolo. Diana as the patron saint of a nunnery was anovelty, but not inappropriate. She was the god-dess of celibacy to the Greeks, and why not allegori-cally to Christians also ? What subject could servebetter to remind the inmates of their irrevocablevows ? Neither are the frolicsome boys in the lu-nettes less in keeping with the sanctity of the place.A happy innocent child is the very type of purity.They must have served as an alleviation and acheerful relaxation to the lives of those unfortunatewomen immured within the convent of San Paolo;
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LEDA AND THE SWAN, by CORREGGIO Berlin Gallery Correggio. 287 but it was a luxury which could only have been per-mitted at this particular era, and the wonder is thatit was permitted at all. Neither can I agree with the German critic whoconsiders Correggio immeasurably inferior to Ra-phael in intensity of expression. He does not equalRaphael in depth of feeling, but in vividness of ex-pression there is no painting that surpasses Correg-gios Diana, and few of Raphaels that equal it.Her face gives forth moonlight; and as a study oflight it is only rivalled by his other masterpiecewhich Italians call the Day. The background isformed of a cloudy sky so as to give an appearancelike that of the moon breaking through the clouds.There is nowhere a more poetic or perfect painting. In the midst of this splendor we discover a friendly,human intelligence. She seems on the point ofrecognizing the spectator, and yet does this withoutlooking out of the picture. Her frankness is charm-ing; her sympat

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