. Italian backgrounds. the cornice; yetlacking as a whole just that ethereal quality which issupposed to be the distinctive mark of Correggiosart. Compared with the delicate trellis-work andflitting cupids of Zuccheros frescoes at the Villa diPapa Giulio, Correggios design is heavy and masses of foliage are too uniform and the puttitoo fat and stolid for their skyey task. This failureof the decorative sense is rendered more noticeableby the happy manner in which Ai*aldi, a generationearlier, had solved a similar problem in the adjoiningroom. Here the light arabesques and miniaturedivi
. Italian backgrounds. the cornice; yetlacking as a whole just that ethereal quality which issupposed to be the distinctive mark of Correggiosart. Compared with the delicate trellis-work andflitting cupids of Zuccheros frescoes at the Villa diPapa Giulio, Correggios design is heavy and masses of foliage are too uniform and the puttitoo fat and stolid for their skyey task. This failureof the decorative sense is rendered more noticeableby the happy manner in which Ai*aldi, a generationearlier, had solved a similar problem in the adjoiningroom. Here the light arabesques and miniaturedivinities of the ceiling, and the biblical and myth-ological scenes of the frieze, are presented with allthat earnest striving after personal truth of expres-sion that is the ruling principle of fifteenth-centuryart. It is this faculty of personal interpretation,always kept in strict abeyance to the laws of decora-tive fitness, which makes the mural painting of thefifteenth century so satisfying that, compared with [116]. ?mbm-w^ ^ ^i^^ r si[^
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectitalydescriptionandt
