. Antonio Allegri da Correggio, his life, his friends, and his time. ve angels, illuminated by the light whichreaches them from the Babe, but less brilliantly than the figuresbelow. Mengs and others suppose this to indicate that they arespirits, and not corporeal beings. A painter of the Renaissance isscarcely likely to have been so far imbued with mediaeval meta-physics. Correggios main concern was with the pictorial effect, whichdemanded a strong chiaroscuro in the figures of the shepherds, thatis to say, in the central part of the picture, and not in the angels know that sentimenta
. Antonio Allegri da Correggio, his life, his friends, and his time. ve angels, illuminated by the light whichreaches them from the Babe, but less brilliantly than the figuresbelow. Mengs and others suppose this to indicate that they arespirits, and not corporeal beings. A painter of the Renaissance isscarcely likely to have been so far imbued with mediaeval meta-physics. Correggios main concern was with the pictorial effect, whichdemanded a strong chiaroscuro in the figures of the shepherds, thatis to say, in the central part of the picture, and not in the angels know that sentimental minds dislike this materialisation ofimpressions ; but honest criticism should be proof against the seduc-tions of academic mysticism, more especially in the case of an artistlike Correggio, whose greatness needs not the foreign aid of theologyand metaphysics. In boldness of foreshortening and animation of action these angelsare closely allied to those in the cupola of the cathedral. Three ofthem gaze with joyful smiles at the Infant Jesus ; the other two, who L. SKETCH FOR THE NATIVITY (La Notie) In the British Museum. LA NOTTE 291 seem to invite the shepherds to worship him, are more vivacious. One,who is robed in red, and faces the spectator, advances, clasping hishands in prayer ; the other, in a green mantle, who is seen from behind,draws up one leg, and extends the other, opening his arms, and de-scribing a semicircle in his flight, as he looks down on the shepherdsbehind him. On the ground there are great blocks of stones, forming steps, andtall plants, all painted in greenish tones, and shrouded in a penumbrafull of delicate reflections. An admirable relief is given by the lumi-nous ray, which, passing between the Virgins arms, glances on herrobe and mantle near one knee, and the lights, which follow theoutline of the old mans figure, and, striking off towards the ground,define a kind of side scene which marks the distance between thetwo groups of figures. Behind the
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