Cima or Bellini expresses mental emotion only; but the clustering and twining of the fingers of Correggio's S. Catherine is enjoyed by the painter just in the same way as he would enjoy the twining of the branches of a graceful plant, and he compels them into intricacies which have little or no relation to St. Catherine's mind. In the two drawings of Correggio (S. 13 and 14) it is the rounding of limbs and softness of foot resting on cloud which are principally thought of in the form of the Madonna; and the countenance of St. John is foreshortened into a section, that full prominence may be given to the muscles of his arms and breast. So in Tintoret's drawing of the Graces (S. 22), he has entirely neglected the individual character of the Goddesses, and been content to indicate it merely by attributes of dice or flower, so only that he may sufficiently display varieties of contour in thigh and shoulder. 230. Thus far, then, the Greeks, Correggio, Michael Angelo, Raphael in his latter design, and Tintoret in his scenic design (as opposed to portraiture), are at one. But the Greeks, Correggio, and Tintoret, are also together in this farther point; that they all draw the body for true delight in it, and with knowledge of it living; while Michael Angelo and Raphael draw the body for vanity, and from knowledge of it dead. The Venus of Melos,--Correggio's Venus, (with Mercury teaching Cupid to read),--and Tintoret's Graces, have the forms which their designers truly _liked_ to see in women. They may have been wrong or right in liking those forms, but they carved and painted them for their pleasure, not for vanity. But the form of Michael Angelo's Night is not one which he delighted to see in women. He gave it her, because he thought it was fine, and that he would be admired for reaching so lofty an ideal.[48] 231. Again. The Greeks, Correggio, and Tintoret, learn the body from the living body, and delight in its breath, color, and motion.[49] Raphael and Michael Angelo learned it essentially from the corpse, and had no delight in it whatever, but great pride in showing that they knew all its mechanism; they therefore sacrifice its colors, and insist on its muscles, and surrender the breath and fire of it, for what is--not merely carnal,--but osseous, knowing that for one person who can recognize the loveliness of a look, or the purity of a color, there are a hundred who can calculate the length of a bone. The boy with the doves, in Raphael's cartoon of the Beautiful Gate of the Temple, is not a child running, but a surgical diagram of a child in a running posture.