On our way to Milan we stopped a short time at Modena, the capital of the duchy of that name. The whole duchy is about fifty miles in length, and twenty-six in breadth; the town contains twenty thousand inhabitants; the streets are in general large, straight, and ornamented with porticoes. This city is surrounded by a fortification, and farther secured by a citadel; it was anciently rendered famous by the siege which Decimus Brutus sustained here against Marc Antony.
We proceeded next to Parma, a beautiful town, considerably larger than Modena, and defended, like it, by a citadel and regular fortification. The streets are well built, broad, and regular. The town is divided unequally by the little river Parma, which loses itself in the Po, ten or twelve miles from this city.
The theatre is the largest of any in Europe; and consequently a great deal larger than there is any occasion for. Every body has observed, that it is so favourable to the voice, that a whisper from the stage is heard all over this immense house; but nobody tells us on what circumstance in the construction this surprising effect depends.
The Modenese was the native country of Correggio, but he passed most of his life at Parma. Several of the churches are ornamented by the pencil of that great artist, particularly the cupola of the cathedral; the painting of which has been so greatly admired for the grandeur of the design and the boldness of the fore-shortenings. It is now spoiled in such a manner, that its principal beauties are not easily distinguished.
Some of the best pictures in the Ducal Palace have been removed to Naples and elsewhere; but the famous picture of the Virgin, in which Mary Magdalen and St. Jerom are introduced, still remains. In this composition, Correggio has been thought to have united, in a supreme degree, beauties which are seldom found in the same piece; an excellence in any one of which has been sufficient to raise other artists to celebrity. The same connoisseurs assert, that this picture is equally worthy of admiration, on account of the freshness of the colouring, the inexpressible gracefulness of the design, and the exquisite tenderness of the expression. After I had heard all those fine things said over and over again, I thought I had nothing to do but admire; and I had prepared my mind accordingly.—Would to Heaven that the respectable body of connoisseurs were agreed in opinion, and I should most readily submit mine to theirs! But while the above eulogium still resounded in my ears, other connoisseurs have asserted, that this picture is full of affectation; that the shadowing is of a dirty brown, the attitude of the Magdalen constrained and unnatural; that she may strive to the end of time without ever being able to kiss the foot of the infant Jesus in her present position; that she has the look of an ideot; and that the Virgin herself is but a vulgar figure, and seems not a great deal wiser; that the angels have a ridiculous simper, and most abominable air of affectation; and finally, that St. Jerom has the appearance of a sturdy beggar, who intrudes his brawny figure where it has no right to be.