with them on
their journeys, while the king of Poland kept it under lock and key in a
frame of jewelled silver.

Among Correggio's masterpieces, besides his frescoes, there is at Parma
his picture called 'Day,' from the broad flood of daylight in the
picture (and doubtless in contrast to his famous 'Notte' or 'Night,' in
the Dresden Gallery). Here is a Virgin and Child, with St Jerome
presenting to them his translation of the Scriptures, and the Magdalene
bending to kiss in adoration the feet of the infant Saviour.

In the Dresden Gallery in addition to the 'Notte' are five pictures, one
of the marriage of St Catherine as the Church--the bride, espoused with
a ring to the infant Saviour, a favourite subject of Italian painters,
and a specially favourite subject with Correggio; and another, the
Magdalene reading, half shrouded with her flowing hair, so well known
by engravings. I must say a few more words of the 'Notte,'--it is a
nativity illuminated entirely by the unearthly glory shining from the
Child Christ. Virgin and Child are bathed and half lost in the fair
radiance, which falls softly on a shepherd and maiden, leaving the rest
of the figures, the stalled beasts, and the surroundings of the stable,
in dim shadow.

In our National Gallery there are fine specimens of Correggio. There is
an 'Ecce Homo': Christ crowned with thorns, holding out his bound hands,
with a Roman soldier softening into pity, Pilate hardening in
indifference, and the Virgin fainting with sorrow. There are also 'the
Virgin with the Basket,' so named from the little basket in front of the
picture; and 'a Holy Family;' and there is a highly-esteemed picture
from a mythological subject, 'Mercury teaching Cupid to read in the
presence of Venus.'

We must return to the Venice of Titian, and see how his successors, with
much more of the true painter in them than the fast degenerating
scholars of other Italian schools, were mere men, if great men, matched
with Titian.

Tintoretto is only Tintoretto or Tintoret because his father was a dyer,
and 'Il Tintoretto' is in Italian, 'the little dyer.' Tintoretto's real
name was one more in keeping with his pretensions, Jacopo Robusti. He
was born in Venice, in 1512, and early fore-shadowed his future career
by drawing all kinds of objects on the walls of his father's dye-house,
an exercise which did not offend or dismay the elder Robusti, but, on
the contrary, induced him to put the boy into the scho