t of his native city. His grave is simply marked with
his name and the date of his death.

Some of his oil-paintings are very famous. One at Dresden, representing
the "Nativity of the Saviour," is called the "Notte," or night, because
the only light on the picture comes from the halo of glory around the head
of the Holy Child. Correggio's "Reading Magdalen" is in the same gallery;
probably no one picture exists which has been more universally admired
than this.

[Illustration: FIG. 48.--UPPER PART OF A FRESCO BY CORREGGIO.]

There was a large work of his representing "The Shepherds Adoring the
Infant Saviour," at Seville, in Spain. During the Peninsular War (1808-14)
the people of that city sent many valuable things to Cadiz for safety, and
this picture, on account of its size, was cut in two. By some accident
the two parts were separated; but both were sold, and the purchaser of
each was promised that the other portion should be given him. From this
much trouble arose, because both purchasers determined to keep what they
had, and each claimed that the whole belonged to him, and as they were
equally obstinate, the two parts of the same work have never been
reunited. Fortunately, each half makes a picture by itself.

The frescoes at Parma are the greatest works of this master, and it is
very interesting to visit that quaint old city; his works are in the
Cathedral, the Church of St. John the Evangelist, and in the parlor of the
Convent of the Benedictine Nuns. This last is a wonderful room. The
ceiling is arched and high, and painted to represent an arbor of vines
with sixteen oval openings, out of which frolicsome children are peeping,
as if, in passing around behind the vines, they had stopped to look down
into the room. The pictures here will make you understand the effect
(Figs. 48 and 49). Beneath each of these openings or lunettes is a
half-circular picture of some mythological story or personage. Upon the
wall of the parlor, above the mantel, there is a picture of Diana, the
goddess of the moon and the protector of young animals, which is a
beautiful picture.

When Correggio worked on the frescoes at the Church of St. John, he lived
much in the monastery connected with it. The monks became very fond of
him, and made him a member of the Congregation Cassinensi; the poet Tasso
also was a member of this fraternity. This membership gave him the right
to share in the masses, prayers, and alms of the community, and