glance, which thus becomes stern; or the dignity fades, that the beauty, which thus becomes inexpressive, may be preserved. In truth, copies are very inefficient things; prints are often better; but if you look at the originals, such weak types fade into insignificance.
There are four large Correggios in this room; all among his earlier pictures. As paintings, I am told that they rank higher than the Raphael. They gain by being looked at and studied; the art of painting has never, nor can ever be carried further than the Chiaro Oscuro of this admirable artist; and the attitudes of the figures—the expression of some of the faces—especially of St. Sebastian, in one of them, thrills the frame. Now, the sense of adoration is cold in men’s breasts, and painters can neither see in others, nor conceive within their own breasts, a passion as absorbing as love, while it elevates and purifies those who feel it till their features shadow forth an angelic nature. A fifth Correggio is also here—the Magdalen, a small cabinet picture. It is well-known. I am told that Correggio only painted it once; but Allori, a good painter, but whose conceptions, whose types (to use the word of the author of “La Poésie Chrétienne”) are not noble, has made many most admirable copies; it has thus been multiplied; some of the
