Near it, _Titian_. The Man with the Glove: a fine portrait. =**=19. _Correggio._ The Marriage of St. Catherine. This is a characteristic treatment, by the great painter of Parma, of this mystical subject. St. Catherine is treated as an Italian princess of his own time, on whose finger the infant Christ playfully places a ring. The action has absolutely no mystic solemnity. Behind, stands St. Sebastian, with his arrows to mark him (without them you would not know him from a classical figure), looking on with amused attention. His smile is lovely. In the background, episodes of the martyrdom of St. Sebastian, proving this to be probably a plague picture. But the whole work, though admirable as art, has in it nothing of religion, and may be aptly compared as to tone with the Education of Cupid by the same artist in the National Gallery. Nothing could surpass the beauty of the light and shade, and the exquisite colouring. Study it as a type of the last word of the humanist Renaissance against mediæval spirituality. Compare it with the Memling close by: and, if you have been at Milan, with the exquisitely dainty Luini in the Poldi-Pezzoli Museum. Above it, a Holy Family by _Murillo_. Spanish and theatrical. The greater part of this wall is taken up by an enormous canvas (95), by _Paolo Veronese_, representing the Marriage at Cana of Galilee, from the refectory (or dining-hall) of San Giorgio Maggiore at Venice. Pictures of this subject, or of the Last Supper, or of the Feast in the House of Levi, were constantly placed as appropriate decorations to fill the end wall of monastic refectories (like the famous Leonardo at Milan), and were often therefore gigantic in size. This monstrous and very effective composition (proudly pointed out by the guides as “the largest oil-painting in the world”) contains nothing of sacred, and merely reflects with admirable skill the lordly character of the Italian Renaissance. In the centre of the table, one barely notices the figures of the Christ and the Madonna. Attention is distracted both from them and from the miracle of the wine by the splendid architecture of the background, the loggias, the accessories, and the gorgeous guests, many of them representing contemporary sovereigns (among them François I^{er}, Eleanor of Austria, Charles V, and Sultan Soliman). The group of musicians in the centre foreground is also composed of portraits—this time of contemporary painters (Titian, Tintoretto, etc.). As a whole, a most characteristic picture both of the painter and his epoch, worth some study, and full of good detail.