First, to represent a phosphorescent light from the
body of the child; and second, to show off some foreshortened angels.
Now, as to these angels, I have simply to remark that I should prefer
a seraph's head to his heels; and that a group of archangels, kicking
from the canvas with such alarming vigor, however much it may
illustrate foreshortening, does not illustrate either glory to God in
the highest, or peace on earth and good will to men. Therefore I have
quarrelled with Correggio, as I always expected to do if he profaned
the divine mysteries. How could any one, who had a soul to understand
that most noble creation of Raphael, turn, the next moment, to admire
this?
Here also are six others of Correggio's most celebrated paintings.
They are all mere representations of the physical, with little of the
moral. His picture of the Virgin and Child represents simply a very
graceful, beautiful woman, holding a fine little child. His peculiar
excellences in the management of his lights and shades appear in all.
In one of the halls we found a Magdalen by Battoni, which gave me more
pleasure, on first sight, than any picture in the gallery. It is a
life-sized figure of the Magdalen stretched upon the ground, reading
an open Bible. I like it, first, because the figure is every way
beautiful and well proportioned; second, on account of an elevated
simplicity hi the arrangement and general effect. The dark, rocky
background throws out distinctly the beautiful figure, raised on one
elbow, her long, golden hair floating loosely down, as she bends
forward over her book with parted lips, slightly flushed cheek, and an
air of rapt and pleased attention. Though the neck and bosom are
exposed, yet there is an angelic seriousness and gravity in the
conception of the piece which would check an earthly thought. The
woman is of that high class about whom there might seem to be a
hovering angelic presence - the perfection of beauty and symmetry,
without a tinge of sensual attraction.
All these rooms are full of artists copying different paintings, - some
upon slabs of Dresden china, - producing pictures of exquisite, finish,
and very pretty as boudoir ornaments.
After exhausting this first room, we walked through the galleries,
which I will name, to give you some idea of their extent.
Two rooms, of old German and Dutch masters, are curious, - as
exhibiting the upward struggles of art. Many of the pictures are hard
as a tavern sign, and as ill drawn; but they mark the era of dawning
effort.
Then a long corridor of Dutch paintings, in which Rubens figures
conspicuously, displaying, as usual, all manner of scarlet
abominations, mixed with most triumphant successes. He has a boar hunt
here, which is absolutely terrific. Rubens has a power peculiar to
himself of throwing into the eyes of animals the phosphorescent
magnetic gleam of life and passion.
