The painting of Magdalenes was a favorite subject with the old masters; it gave them an opportunity to depict the nude, and the subject is full of human sympathy which every one can appreciate. Humanity, liable to error, must, of necessity, in well-balanced minds, feel a profound sympathy for those who have erred, and who, in contrite grief, bewail their misfortunes and their weakness. The full sympathy of the Divine Redeemer for humanity in this predicament has been markedly illustrated in His treatment of Mary Magdalene, to whom He appeared first after His resurrection, and from whom, then, as the New Testament says, he cast forth seven devils. The introduction of a skull into the picture was of common occurrence, and evidently meant to point out the moral: " To this must we all come at last."

Charles Cignani was born at Bologna in 1628. The whole of his career was devoted to scriptural subjects. He has been classed by the best critics as worthy of association with the Carracci, Guido and Correggio. He decorated the gallery of the Duke of Parma, and was knighted by that prince. His greatest work is in the cupola of the Duorno at Florence, which occupied him from 1686 to 1706. It represents "The Assumption of the Virgin," and is of the highest merit. He was President of the Clementine Academy at Bologna. Died at Florence in 1719.