Gers of one hand peep out from the folds, and one

St. Jerome. The mother, too, has a face which soon becomes familiar to
the student of Correggio's works. The eyes are full, the nose is rather
prominent, the mouth large and smiling, and the chin small. Even St.
Catherine is of the same type, except that her face is cast in a smaller
and more delicate mould. Her hair is arranged precisely like that of the
Madonna, the braids bound about the head, preserving the pretty round
contour. Both women wear dresses cut with round low necks, showing their
full throats. St. Catherine's left hand rests upon a wheel with spiked
rim, which, as we have seen, is her usual emblem. Another emblem is the
sword, whose hilt projects from behind the wheel. This was the
instrument of her execution. Special prominence is given in the picture
to three sets of hands. The skill with which they are painted is noted
by critics as one of the many artistic merits of the work. One of
Browning's poems[6] describes an artist's meditations while trying to
draw a hand. His failure teaches him to realize that he must study the
"Flesh and bone and nerve that make The poorest coarsest human hand An
object worthy to be scanned A whole life long for their sole sake." Such
must have been Correggio's study to enable him to produce the beautiful
hands we see here. [Footnote 6: _Beside the Drawing Board._] St.
Sebastian is a figure not to be overlooked. We may find his like among
the genii of the Parma Cathedral, which we are to study. He is a joyous
being to whom it is good merely to be alive. The elfin locks falling
about his face make him look like some creature of the woods. We are
reminded most of the faun of the Greek mythology. The arrows in his hand
suggest some sylvan sport, but in re

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