ey of Cyprus could have made the little body so plump. A deep
crease marks the line of his wrist, a soft fold of flesh the neck. The
full quiver lies on the table beside him, and he is sharpening one of
the darts.[38] A little companion helps him hold the whetstone steady
while he presses the arrow tip upon its surface. Some lines of Horace
come to mind describing--

"Cupid sharpening all his fiery darts
Upon a whetstone stained with blood of hearts."

[Footnote 38: Vasari says that Cupid is trying the arrow on a stone.]

Cupid's companion is as like him as a twin, save that he has no wings.
He may be a human playfellow of the little god, or one of the brood of
loves with which the poets have peopled Cyprus. While the original
myth told of only one Cupid, imagination has multiplied his kind. We
read of the "playful rout of Cupids" attendant upon the love-god, who
rules as sovereign among them.

The two children of the picture are intent upon their task. The very
seriousness of their manner argues some mischief in view. Evidently
they are preparing for a great conquest. The arrow must not fail of
its work, but must be sharp enough to carry the sweet poison straight
to the victim's heart.

Both of the chubby fellows have rather large heads with clustering
ringlets. The wingless boy has the high, full forehead which marks an
active mind. Cupid seems to have the more energetic temperament of the
two, while his comrade is a bit of a dreamer.

Our picture is a charming illustration of Correggio's love of
children. As it was not the fashion of his time to paint children's
portraits, he had to make his own opportunities for the favorite
subject. How ingenious he was we have had occasion to see in our
study. When given a sacred subject to paint he filled all the
available spaces with child angels sporting in the clouds. With the
ceiling of a room to decorate, he covered the whole surface with a
band of little boys at play.

Our reproduction is a detail of a larger picture illustrating the myth
of Danae. The two little figures are in the lower right corner of the
canvas.

XVI

A SUPPOSED PORTRAIT OF CORREGGIO

Almost every celebrated painter has at some time in his life sat for
his portrait. Many have painted their own likenesses, not so much from
motives of vanity, but as a matter of artistic interest. Others have
posed as models to their fellow painters.

Correggio was an exception in this regard.