Page:Anecdotes of painters, engravers, sculptors and architects, and curiosities of art (IA anecdotesofpaint01spoo).pdf/268

 CORREGGIO'S GRAND CUPOLA OF THE CATHEDRAL AT PARMA.

The grand fresco painting in the cupola of the Cathedral of Parma, is considered Correggio's greatest work, and has ever been regarded as a most wonderful production.

The difficulties he had to encounter, were greater than those in the church of St. John, and in overcoming them he displayed the most consummate skill and judgment. This cupola, which is nearly thirty-nine feet in diameter, is octagonal, the compartments diminishing as it rises; and it is not surmounted with a lantern, but towards the lower part is lighted by windows, approaching to an oval form. On this surface he delineated numerous groups of figures, with extraordinary boldness and effect; though, for the sake of variety, he partially adopted a smaller scale than in the cupola of St. John. The subject is the Assumption of the Virgin Mary. She is represented with an air in the highest degree indicative of devotion and beatitude, as rising to meet Christ in the clouds, surrounded by the heavenly choir of saints and angels; while beneath, the apostles behold her reception into glory with the most dignified expression of reverence and astonishment. Over the whole is an effusion of light, which produces an impression truly celestial.

The figures which are depicted in the upper part of the dome, are foreshortened with consummate