Correggio Part 5

IX

THE REST ON THE RETURN FROM EGYPT

(The Madonna della Scodella)

Before the child Jesus was two years old, he was taken on a journey which at that time was long and tedious. An angel appeared to Joseph one night in a dream, saying, "Arise, and take the young child and his mother, and flee into Egypt, and be thou there until I bring thee word; for Herod will seek the young child to destroy him."

The news of Jesus' birth had been first brought to King Herod by the wise men of the East, who came in search of the new-born king whose star they had seen. The idea of a strange ruler to usurp the throne alarmed Herod, and he determined to be rid of any possible rival.

Accordingly orders were given to slay all children in and near Bethlehem "from two years old and under."

While this terrible slaughter was going on, the Holy Family were making their way to the strange land of refuge. Here they lived, awaiting heavenly guidance for their return. "But when Herod was dead, behold an angel of the Lord appeareth in a dream to Joseph in Egypt, saying, Arise, and take the young child and his mother, and go into the land of Israel; for they are dead which sought the young child's life. And he arose, and took the young child and his mother, and came into the land of Israel."[21]

[Footnote 21: The quotations are from St. Matthew, chapter ii.]

This is all the Evangelist tells us of what was doubtless an exciting, perhaps even a perilous adventure. We may suppose both journeys to have been made by donkeys, the common beasts of burden in Eastern countries. The young mother and child must certainly have had to ride.

As for Joseph, he was a st.u.r.dy man, and may well have walked; in those days travelling was a matter of time. Unused to luxuries, these simple folk trusted in Providence to supply their few needs by the way.

Our picture ill.u.s.trates an imaginary incident on the return journey from Egypt to Israel. It is the hour of the noonday rest, and the little company have come to a halt in the woods. An old legend relates how at such times the trees would bend to offer them fruit, and springs would gush forth out of the dry ground for their refreshment.

Mary has seated herself on a bank by the stream, while Joseph plucks the fruit from the date palm near by.

The boy Jesus has been standing between the two, watching Joseph, from whose outstretched hand he now takes the fruit. At the same time he is thirsty, and leaning back towards his mother, he turns and throws an arm over her shoulder, asking for a drink of water. She has a round basin (or _scodella_) which the family use as a drinking-cup, and the child points to it with a coaxing smile, resting his hand on her wrist.

[Ill.u.s.tration: THE REST ON THE RETURN FROM EGYPT (MADONNA DELLA SCODELLA) _Parma Gallery_]

Mary turns with fond pride towards the dear little face so near her own. Her face is the same which we have already seen bending in a mother's first ecstasy over her babe. Here it has a maturer and more matronly look, but with no less sweetness. Joseph, from his higher level, looks down kindly upon the two. His generous nature seems to take delight in anything that gives them pleasure. He is large and heavily built, a stalwart protector should perils beset them. In spite of the thick draperies so clumsily wound about him, he is a dignified figure. He holds here a place of prominence seldom given him by other painters.

The child upon whom so much love is lavished is a tall, lithe boy with a well shaped head. His hair is parted, and falls in loose curls on each side of a forehead which marks him a child of genius. The face is delicate and sensitive, with a shy expression in the eyes.

The family are not alone, for, all unseen by them, a company of ministering angels wait upon them. A tall one in the rear takes care of the donkey. Another little creature peeps from the thicket beside Mary. Four more circle overhead among the branches of the trees, borne upon little clouds which they have brought with them from the upper regions. Their wind-blown hair and fluttering garments show how swift is their motion. One of them tugs mightily at the palm, throwing himself backward in the effort to bend it towards Joseph. Two others sport together with interlocked arms, and higher still, a pair of eyes gleam through the leaves. The whole jocund company seem to fill the place with mirth. They fulfil the promise of the ancient psalmist, "He shall give his angels charge over thee, to keep thee in all thy ways."

Certain characteristics of Correggio's art are well ill.u.s.trated in the picture. His delight in the foot is here almost equal to that he shows for the hand in "The Marriage of St. Catherine." The three wayfarers travel with bare feet, and the ministering angels flaunt their feet gaily in the air. Drawn in many positions, it is interesting to see how decorative this feature of the picture is.

The figures are cleverly grouped, that they may completely fill the tall, narrow panel. The composition is built on a diagonal plan. From the left hand of Joseph, grasping the palm branch, to the right hand of Mary, with the basin of water, runs the strong main line which gives character to the drawing. The child links the two larger figures together, by stretching out a hand to each. The group of cloud-borne angels above also follows a diagonal direction parallel to the larger group. We shall presently see that the painter used the same method of composition in another picture.

The opening beyond the copse, where the donkey is tied, makes the spot seem less gloomy and isolated. It is an important principle of art to represent no enclosed place without a glimpse of light in the background.

X

ECCE h.o.m.o

The old Hebrew prophet who wrote of the coming Messiah predicted that he should be "despised and rejected of men, a man of sorrows, and acquainted with grief." How fully the prophecy was realized, we may read in the narrative of the trial and crucifixion of Jesus.

The enemies of Jesus had to deal with their prisoner according to the formality of the Roman law. They brought him to the Roman governor, Pontius Pilate, accusing him of "perverting the nation, and forbidding to give tribute to Caesar, saying that he himself is Christ, a king."[22] The governor duly examined Jesus, but, finding no case against him, proposed to scourge him and let him go.

[Footnote 22: St. Luke, chapter xxiii., verse 2.]

"Then Pilate therefore took Jesus and scourged him. And the soldiers platted a crown of thorns and put it on his head, and they put on him a purple robe, and said, Hail, King of the Jews! and they smote him with their hands. Pilate therefore went forth again, and saith unto them, Behold, I bring him forth to you, that ye may know that I find no fault in him.

"Then came Jesus forth, wearing the crown of thorns, and the purple robe. And Pilate saith unto them, Behold the man! When the chief priests therefore and officers saw him, they cried out, saying Crucify him, Crucify him."[23] Pilate again sought to release Jesus, but the people continued to clamor, "Away with him," "Crucify him." "Then delivered he him therefore unto them to be crucified."[24]

[Footnote 23: St. John, chapter xix., verses 1-6.]

[Footnote 24: _Ib._, verse 16.]

The Latin form of Pilate's words, "Behold the man," has given the t.i.tle "Ecce h.o.m.o" to our picture. It is the moment when Jesus comes forth from the rude mockery of the soldiers, clad in a royal robe, and wearing the crown of thorns. The governor has bidden one of the soldiers lead the prisoner out on a balcony of the palace. An eager throng of people are waiting outside, but they are not all enemies.

Among them are a few faithful women, and they are allowed to press close to the balcony. At the sight of her son, treated as a criminal with bound hands, the mother, Mary, falls swooning over the bal.u.s.trade, supported by a younger woman.

Pilate standing in the doorway behind appeals to the crowd: "I find no fault in him. Behold the man." He has been deeply impressed by his interview with Jesus, and is willing to do something in his behalf.

His face is good-natured, we see, but with no strength of character in it. He is a handsome man with curling beard carefully trimmed, apparently not a hard man to deal with, but easy-going and selfish.

[Ill.u.s.tration: ECCE h.o.m.o _National Gallery, London_]

Jesus stands with drooping head and an expression of suffering resignation. In the menacing faces before him he sees the hatred which will be satisfied with nothing less than his death. Already he hears the cruel cry, "Crucify him, crucify him." His badge of kings.h.i.+p is the crown of suffering. Were his kingdom of this world, his servants would deliver him from his enemies. As the ruler of a heavenly kingdom, he was born "to bear witness unto the truth."

The rich mantle, which the soldiers have mockingly thrown over his shoulders, falls away and shows the body as it had been bared for the scourging. It is a beautiful form, perfectly developed, and the arms and hands are as delicately modelled as a woman's. The face is oval, with regular features of cla.s.sic mould, a short parted beard, and long hair falling in disordered curls about it. This is the typical face of Christ, as it has been handed down from generation to generation since early in the Christian era. The rude pictures in the catacombs are on the same model. So faithfully has the type been followed through the centuries, some believe that the original must have been an authentic likeness.[25]

[Footnote 25: See _Rex Regum_, by Sir Wyke Bayliss.]

The mother Mary is still young and beautiful. As the great Michelangelo said, "Purity enjoys eternal youth."[26] A heavy veil or mantle is draped over her head, framing the pure profile of her face.

This form of drapery is common among the old masters in painting Mary as _Mater Dolorosa_, or the Sorrowing Mother.

[Footnote 26: See the volume on Michelangelo in the _Riverside Art Series_, page 35.]

Artistically considered, this figure of the fainting mother is the finest thing in the picture. Her companion, probably Mary Magdalene, is also a lovely creature, though we see only a part of her face.

The subject is in tragic contrast to the ill.u.s.trations we have just been studying. It seems strange to connect this Man of Sorrows with the happy boy we saw by the woodland spring, or this grief-stricken woman with that proud young mother. Correggio himself, we know, shrank from such sad themes.

Like the picture of The Marriage of St. Catherine, our ill.u.s.tration shows how skilfully Correggio painted hands. The drooping fingers of the Saviour taper delicately, with long almond-shaped nails. Pilate's hand has slender, flexible fingers like those of some dainty woman, and might be mated with that of Mary Magdalene. It is apparent that the study of hands and feet interested our painter more than that of faces. We shall lose much in his pictures if we do not give special attention to these features. In the case before us, the face of Christ must be less attractive, on account of the sorrowful expression. To make up, as it were, for this, the hands are brought into prominent notice, and are very beautiful.

XI

APOSTLES AND GENII

The glory of Parma is the Cathedral, which represents the labors of many centuries. The building itself was begun in 1058, and completed in the thirteenth century. The interior was beautified by a succession of artists, one of whom was our painter Correggio. His work here was the decoration of the cupola, and he began it immediately upon finis.h.i.+ng the frescoes in the church of S. Giovanni Evangelista.

The Cathedral dome is octagonal in shape. In the roof, or topmost s.p.a.ce, the Virgin Mary seems borne on circling throngs of saints and angels to meet the Saviour in the upper air. Below the dome runs a cornice, or frieze, in eight sections, filled with figures of apostles gazing upon the vision. Still lower are four decorated pendentives, similar to those in the church of S. Giovanni Evangelista. These contain respectively the four patron saints of Parma.

To the spectator looking up from below, the effect is of "a moving vision, rapturous and ecstatic." A mult.i.tude of radiant figures sweep and whirl through the heavenly s.p.a.ces. "They are upon every side, bending, tossing, floating, and diving through the clouds, hovering above the abysmal void that is between the dome and the earth below it."[27] Wonderful indeed is the triumph of the painter's art in this place. "Reverse the cupola and fill it with gold, and even that will not represent its worth," said t.i.tian.