below
feel we are in the darkness of the grave which Mary left. A kind of
controlling rhythm for the composition is gained by placing Gabriel,
Madonna, and Christ at three points in the swirl of angels.
Nevertheless, composition--the presiding, all-controlling intellect--is
just what makes itself felt by absence; and Correggio's special
qualities of light and color have now so far vanished from the cupola of
the Duomo that the constructive poverty is not disguised. Here, if
anywhere in painting, we may apply Goethe's words--_Gefuehl ist Alles_.

If, then, we return to Ferrari's angels at Saronno, we find that the
painter of Varallo chose a safer though a far more modest theme. Nor did
he expose himself to that most cruel of all degradations which the
ethereal genius of Correggio has suffered from incompetent imitators. To
daub a tawdry and superficial reproduction of these Parmese frescos, to
fill the cupolas of Italy with veritable _guazzetti di rane_, was
comparatively easy; and between our intelligence and what remains of
that stupendous masterpiece of boldness crowd a thousand memories of
such ineptitude. On the other hand, nothing but solid work and
conscientious inspiration could enable any workman, however able, to
follow Ferrari in the path struck out by him at Saronno. His cupola has
had no imitator; and its only rival is the noble pendant painted at
Varallo by his own hand, of angels in adoring anguish round the cross.

In the ante-choir of the sanctuary are Luini's priceless frescos of the
"Marriage of the Virgin" and the "Dispute with the Doctors."[G] Their
execution is flawless, and they are perfectly preserved. If criticism
before such admirable examples of so excellent a master be permissible,
it may be questioned whether the figures are not too crowded, whether
the groups are sufficiently varied and connected by rhythmic lines. Yet
the concords of yellow and orange with blue in the "Sposalizio," and the
blendings of dull violet and red in the "Disputa," make up for much of
stiffness. Here, as in the Chapel of St. Catherine at Milan, we feel
that Luini was the greatest colourist among _frescanti_. In the
"Sposalizio" the female heads are singularly noble and idyllically
graceful. Some of the young men too have Luini's special grace and
abundance of golden hair. In the "Disputa" the gravity and dignity of
old men are above all things striking.

Passing into the choir, we find on either hand the "Adoratio