Part 6 (1/2)

[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 wors.h.i.+pping 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]