down his pious exhortations.  Soon after the completion of this sublime picture, the two brothers commenced the celebrated Farnese Gallery in conjunction; but the jealous feelings which existed between them caused continual dissentions, and the turbulent disposition of Annibale compelled Agostino to abandon him and quit Rome.  Agostino, who according to all authorities was the best tempered of the two, from that time gave himself up almost entirely to engraving.  Annibale, though he has the honor of having executed the immortal works in the Farnese Gallery, yet owed much there, as elsewhere, to the acquirements and poetical genius of Agostino.  In the composition of such mythological subjects the unlettered Annibale was totally inadequate.  See vol. i., page 71 of this work.

THE NOTTE OF CORREGGIO.

This wonderful picture is one of the most singular and beautiful works of that great master.  Adopting an idea till then unknown to painters, he has created a new principle of light and shade; and in the limited space of nine feet by six, has expanded a breadth and depth of perspective which defies description.  The subject he has chosen, is the adoration of the shepherds, who, after hearing the glad tidings of joy and salvation, proclaimed by the heavenly host, hasten to hail the new-born King and Saviour.  On so unpromising a subject as the birth of a child, in so mean a place as a stable, the painter has, however, thrown the air of divinity itself.  The principal light emanates from the body of the infant, and illuminates the surrounding objects; but a secondary light is borrowed from a group of angels above, which, while it aids the general effect, is yet itself irradiated by the glory breaking from the child, and allegorizing the expression of scripture, that Christ is the true light of the world.  Nor is the art, with which the figures are represented less admirable than the management of the light.  The face of the child is skillfully hidden, by its oblique position, from the conviction that the features of a new-born infant are ill-adapted to please the eye; but that of the Virgin is warmly irradiated, and yet so disposed, that in bending with maternal fondness over her offspring, it exhibits exquisite beauty, without the harshness of deep shadows.  The light strikes boldly on the lower part of her face, and is lost in a fainter glow on the eyes, while the forehead is thrown into shade.  The figures of Joseph and the shepherds are traced with the same skillful pencil; and the glow which illuminates the piece is heightened to the imagination, by the attitude of a shepherdess, bringing an offering of doves, who shades her eyes with her hand, as if unable to sustain the brightness of incarnate divinity.  The glimmering of the rising dawn, which shews the figures in the background, contributes to augment the splendor of the principal glory.  “The beauty, grace, and finish of the piece,” says Mengs, “are admirable, and every part is executed in a peculiar and appropriate style.”