They were very happy together, Correggio and his wife, and they had four children. Their happiness was not for long, because Correggio seems to have been but thirty-four years old when she died, nor did he live to be old. There is a most curious tale of his death which is probably not true, but it is worth telling since many have believed it. He is supposed to have died in Correggio, of pleurisy, but the story is that he had made a picture for one who had some grudge against him, and who in order to irritate him paid him in copper, fifty scudi. This was a considerable burden, and in order to save expense and time, it is said that Correggio undertook to carry it home alone. It was a very hot day, and he became so overheated and exhausted with his heavy load that he took ill and died, and he may be said literally to have been killed by "too much money," if this were true. Vasari, a biographer to be generally believed, says it is a fact. Correggio said that he always had his "thoughts at the end of his pencil," and there are those who impudently declare that is the only place he _did_ have them, but that is a carping criticism, because he was a very great artist, his greatest power being the presentation of soft blendings of light and shade. There seem to have been few unusual events in Correggio's life; very little that helps us to judge the man, but there is a general opinion that he was a kind and devoted father and husband, as well as a good citizen. With little demand upon his moral character, he did his work, did it well, and his work alone gave him place and fame. He became the head of a school of painting and had many imitators, but we hear little of his pupils, except that one of them was his own son, Pompino, who lived to be very old, and in his turn was successful as an artist. Correggio was buried with honours in the Arrivabene Chapel, in the Franciscan church at Correggio. PLATE--THE HOLY NIGHT This painting is not characteristic of Correggio's work, but nevertheless it is very beautiful. The brilliant warm light which comes from the Infant Jesus in His mother's arms is reflected upon the faces of those gathered about, and even illuminates the angelic group hovering above him. The slight landscape forming the background is also suggestive, and the conditions of the birth are indicated by the ass which may be seen in the middle distance. The faces of all are joyous yet full of wonderment, the whole scene intimate and human. The picture is also called the "Adoration of the Shepherds," and that title best tells the story. See the shepherdess shading her face with one hand and offering two turtle-doves with the other. The ass in the distance is the one on which Mary rode to Bethlehem, and Joseph is caring for it. Even the cold light of the dawning day is softened by the beauty of the group below. This picture is in the Royal Gallery in Dresden. PLATE--THE MYSTIC MARRIAGE OF ST. CATHERINE