the window, until the room was nearly dark—“you need no light to see that picture; it has its own light in the divinity which is effulgent from the face of the Infant. Tell me the copyist who effected this, and I will venerate him as Correggio’s other self.”
A word of explanation is necessary here. The Notte is a picture representing the Nativity. The Child is in the arms of the kneeling Mother. “The radiant Infant, and the Mother who holds him, are lost in the splendor which has guided the distant shepherds. A maiden on one side, and a beautiful youth on the other, who serves as a contrast to an old shepherd, receive the full light, which seems to dazzle their eyes; while angels hovering above appear in a softened radiance. A little farther back Joseph is employed with his ass, and in the background are more shepherds with their flocks. Morning breaks in the horizon. An ethereal light breaks through the whole picture, and leaves only so much of the outline and substance of the forms apparent as is necessary to enable the eye to distinguish objects.” This picture is at present in the gallery of Dresden, and the foregoing is the description of it given by Kugler. The same writer adds in a note: “Smaller representations of this subject, with similar motives and treated in the same manner as the Dresden picture, exist in various places. An excellent little picture of the kind is in the Berlin museum, No. 223, and is there ascribed to the school of Correggio.” That Correggio himself reproduced smaller representations of this scene, preserving only the three prominent figures of the Infant, the Mother, and St. Joseph, is notorious. It was a favorite subject of the great master’s, as is evident
in the very counterpart of the Notte, because of its wonderful light—St. Jerome, or Giorno—“Day.” Coindet, in his Histoire de la Peinture en Italie, speaking of the Notte, says that, on account of the celestial light which emanates from the divine Child, the picture “has been called ‘Night,’ just as the St. Jerome is often called ‘Day,’ by the Italians, who thus express the striking light of that picture. Is it necessary to say that that light is as harmonious as it is brilliant, and that the celebrity of those two pictures, ‘Night’ and ‘Day,’ is due above all to the perfection of the chiaroscuro?”
The picture which the old man was restoring is one of the “smaller representations” spoken of by Kugler. It required no restoration as far as the coloring was concerned. That was deep and brilliant as ever. Not the lights but the shadows needed retouching, and the old man showed himself a good artist, as well as a reverent admirer, when he said he would not touch the face of the Child. The wonderful durability of the coloring, which every one knows to be one of the grand characteristics of Correggio’s productions, is admirable in the little picture. M. Coindet says that frequent analyses of some of Correggio’s paintings, with the view of discovering the secret of this durability, have produced results more curious than useful. Upon the chalk, he says, the artist appeared to have laid a surface of prepared oil, which then received a thick mixture of colors, in which the ingredients were two-thirds of oil and one of varnish; that the colors seemed to have been very choice, and particularly purified from all kinds of salts, which, in process of time, eat and destroy the picture; and that the before-mentioned use
of prepared oil must have greatly contributed to this purification by absorbing the saline particles. It is, moreover, commonly believed that Correggio adopted the method of heating his pictures either in the sun or at the fire, in order that the colors might become, as it were, interfused, and equalized in such a way as to produce the effect of having been poured rather than laid on. Of that lucid appearance which, though so beautiful, does not reflect objects, and of the solidity of the surface, equal to the Greek pictures, Lomazzo says that it must have been obtained by some strong varnish unknown to the Flemish painters themselves, who prepared it of equal clearness and liveliness, but not of equal strength. The history of the little picture in question is not known to any precision. It was brought to Rome from Madrid by the late Cardinal Barili, who received it as a present from a Spanish nobleman while he was nuncio to the court of Madrid. After the death of the cardinal it was exposed for sale with many other pictures, mostly of indifferent merit. The probabilities are that it would have fallen into the hands of some son of Jewry, and disappeared, perhaps for ever, into a dark and dingy lumberroom of the Ghetto. A better fate was in store for the gem. The père saw it, admired it, purchased it, and rested not until he had placed it in the hands of the venerable artist in the quaint old studio, of whom no better eulogium can be pronounced than that implied by the members of the Academy of St. Luke, who, having been requested by Prince Borghese to hold a consultation on the restoration of Raphael’s “Deposition,” unanimously chose the old man to do it. He has since been
entrusted with the delicate and important commission of restoring the principal pictures in the gallery of the Vatican. That he did justice to the little Notte requires no proof. He possesses the necessary requisites for such a task—the skill of an artist, the love of an artist, and the humility of an artist. The picture is now in New York City, and, as an old painter once said laconically, in pronouncing his opinion on a painting, “ex ipsa loquitur”—it speaks of itself. But I have left the old man standing outside the parenthesis, palette in hand, and a smile irradiating his countenance which would be the instant destruction of legions of blue fits. He saw me look inquiringly at the prayerful St. Jerome, and divined my desire of knowing something, about it.
“Painted by Timoteo Vite,” said he, “and I’m to copy it for the good père and send it off to America. Going to be in good company, too!” And he pointed his thumb over his shoulder in the direction of the lightsome “Night.”
Then I turned towards the “Dispute of the Hermits.”
“That was an effort of mine when I was eighteen. I never thought it would go to the New World when I worked at it.”
Laying down the palette, he asked me if I wished to walk around the house. I was only too glad of the invitation. As we passed out of the door he pointed towards the ladder in the corner, and said laughingly: