[Please click here for a modern color image]

If it seems strange that St. Jerome and Mary Magdalene should be here together, we must remember that the painters of Correggio's time did not try to represent sacred scenes with historical accuracy. It was customary to bring together in a picture persons who lived in altogether different periods and countries. The meaning of such pictures was symbolic. The Christians of all ages constitute a communion of the saints who meet at the Christ-child's feet.

The two saints here make a fine artistic contrast,—the rugged and grizzled old man, and the lovely golden-haired maiden. The splendid muscular strength of the one is offset against the radiant beauty of the other. In a devotional sense also the contrast is most appropriate. St. Jerome has served the Christ with great powers of intellect; Mary Magdalene brings only a woman's loving heart. The one has written great books; the other could do nothing but anoint the Saviour's feet. Yet the two kinds of service are equally important. St. Jerome's translations have carried the gospel over the world, and it is written that "Wheresoever this gospel shall be preached in the whole world, there shall also this, that this woman hath done, be told for a memorial of her."[34]

[34] St. Matthew, chapter xxvi., verse 13.

The composition of the picture is on a diagonal plan similar to that which we have already noticed in his pictures.[35] The structural line may be traced from the top of St. Jerome's head across the shoulders and back of Mary Magdalene. The edge of the canopy overhead emphasizes this line by following the same general direction. The child's figure behind the Magdalene balances the figure of the lion in the left corner.

[35] See chapters IX. and XIII.

The landscape which lies beyond the canopy is an important and beautiful part of the picture. Without this spacious distance in the background the large figures filling the foreground would crowd the composition unpleasantly. It is a relief to the eye to traverse this stretch of sunny country.

The picture makes it possible for us to understand why Correggio has been called a painter of "light and space and motion." All three characteristics are admirably illustrated here. In color, too, the original painting is very fine. The Virgin wears the usual red robe and blue mantle, the colors denoting love and constancy. St. Jerome has a blue drapery about the hips and a crimson mantle, while the angel's tunic and Mary Magdalene's mantle are yellow.

It is the clear golden atmosphere flooding the scene which gives it the Italian name of "Il Giorno," The Day.