The best illustration of these principles is in the celebrated Notte of Correggio, where the Infant from the centre tinges the whole with his rays; but perhaps still more in its companion at Dresden, the less known picture of St. Sebastian; for to produce union and tone in the nearly equilateral composition of a votive picture, required a deeper comprehension and a steadier eye. Like the picture of Raffaello at Foligno, it represents the Madonna with the Infant in her arms, throned on clouds, in a central glory of sunny radiance, attended by angels, and surrounded by angelic forms: below are St. Geminian with a maiden by his side, St. Rocco and Sebastian tied to a tree. The first surprise is caused by the central light of the glory, which has all the splendour of a sun, though its colour is a yellow comparatively faint, and terminates in brown. The Madonna, dressed in a robe of glowing lake and a dark blue mantle, seems to start from this body of light as from a sombre ground, and as the Infant from her. The carnation of both is of a low tint, to support the keeping of their distance. The two angels at her side, in tints reflected from the centre, address the Saints below, and connect the upper with the lower part of the picture, which emerges from the darksome clouds on which they stand, and gathers its tones of light from the emanations of the central one, but in subordinate flashes, vanishing from twilight into massy shade. By those who have not seen this picture, a faint idea of its tone may be formed from the votive one of Parmegiano, at the Marquis of Abercorn's, which, had it received its last harmony, would probably have emulated the principle of that we have described.