. Italian backgrounds. ?mbm-w^ ^ ^i^^ r si[^. /i SUB UMBRA LILIORUM the Mantegna room at Mantua, the Sala del Cambioat Perugia, the Sala degli Angeh at Urbino, and thefrescoed room at the Schifanoia at Ferrara, all thelater wall-decorations in Italy (save perhaps theMoretto room at Brescia) seem to fall a little shortof perfection. Of a much earlier style of mural painting, Parmaitself contains one notable example. The ancientoctagon of the Baptistery, with its encircling arcadeand strange frieze of leaping, ramping and runninganimals, is outwardly one of the most interestingbuildings in Italy
. Italian backgrounds. ?mbm-w^ ^ ^i^^ r si[^. /i SUB UMBRA LILIORUM the Mantegna room at Mantua, the Sala del Cambioat Perugia, the Sala degli Angeh at Urbino, and thefrescoed room at the Schifanoia at Ferrara, all thelater wall-decorations in Italy (save perhaps theMoretto room at Brescia) seem to fall a little shortof perfection. Of a much earlier style of mural painting, Parmaitself contains one notable example. The ancientoctagon of the Baptistery, with its encircling arcadeand strange frieze of leaping, ramping and runninganimals, is outwardly one of the most interestingbuildings in Italy; while its interior has a characterof its own hardly to be matched even in that land offiercely competing individualism. Downward fromthe apex of the dome the walls are frescoed in succes-sive tiers with figures of saints in rigid staring atti-tudes, interspersed with awkward presentments ofbiblical story. All these designs are marked by apeculiar naivete of composition and great vehemenceof gesture and expression. Those in the dome andbetw
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Keywords: ., bookcentury1900, bookdecade1900, booksubjectitalydescriptionandt
