GHT (LA NOT

s Antonio Allegri, but in the sixteenth century a man would often be called by a nickname referring to some peculiarity, or to his birthplace.

rches. The choice of subjects was much more limited in his day than now, and, with the exception of a few mythological paintings, all Correggio's themes were religious. The subject most often called for was that of th

ethlehem of Jud?a. It was at a time known in history as the Augustan Age, when Rome was the great world-power. Jud?a was only an obscure province of th

ry and Joseph had come up from their own home to Bethlehem to pay the taxes exacted at Rome. The town was full of people on the same errand, and "there

s. At once they betook themselves joyfully to Bethlehem, the first to do honor to the new-born king. These homely visitors are g

Y NIGHT

en Ga

the image for

ere for a mode

m lies on a bundle of hay, completely encircled by her arms. The bend of her elbow makes a soft pillow for

ot is free. For the rest we see only the downy top of the baby's head and one plump shoulder. The little figure glows lite an incandescent body, and the mother's face is lighted as if she were bending

pondingly beautiful. The old masters spent their lives in seeking an ideal worthy of the subject, and each one conceived her according to his own standards of beauty. Correggio's chief care was for the hai

ects and figures of a picture are made to seem enveloped in light and air, as in the actual world. The contrast between the bright light in the centre and the surrounding darkness

ght was produced, called it "La Notte," The Night. When it came to a German gallery the Germans called it "Die Heilige Nacht," The Holy Nigh

night! H

alm, all

virgin moth

t, so tend

heavenl

heavenl

Night! H

quake at

ream from

hosts sin

e Saviour

e Saviour

Night! H

d, love's

ams from T

wn of redee

ord, at

rd, at th