e, for this, the hands are brought into prominent
notice, and are very beautiful.

XI

APOSTLES AND GENII

The glory of Parma is the Cathedral, which represents the labors of
many centuries. The building itself was begun in 1058, and completed
in the thirteenth century. The interior was beautified by a succession
of artists, one of whom was our painter Correggio. His work here was
the decoration of the cupola, and he began it immediately upon
finishing the frescoes in the church of S. Giovanni Evangelista.

The Cathedral dome is octagonal in shape. In the roof, or topmost
space, the Virgin Mary seems borne on circling throngs of saints and
angels to meet the Saviour in the upper air. Below the dome runs a
cornice, or frieze, in eight sections, filled with figures of apostles
gazing upon the vision. Still lower are four decorated pendentives,
similar to those in the church of S. Giovanni Evangelista. These
contain respectively the four patron saints of Parma.

To the spectator looking up from below, the effect is of "a moving
vision, rapturous and ecstatic." A multitude of radiant figures sweep
and whirl through the heavenly spaces. "They are upon every side,
bending, tossing, floating, and diving through the clouds, hovering
above the abysmal void that is between the dome and the earth below
it."[27] Wonderful indeed is the triumph of the painter's art in this
place. "Reverse the cupola and fill it with gold, and even that will
not represent its worth," said Titian.

[Footnote 27: E. H. Blashfield in _Italian Cities._]

Our illustration shows a portion of the octagonal cornice. The design
is a simulated balcony ornamented with tall candelabra. In front stand
the apostles grouped in twos at the corners. On the top of the
balustrade, in the spaces between the candelabra, sport a band of
genii, or heavenly spirits.

The four apostles are men of giant frames with broad shoulders and
stalwart limbs. They are of middle age, heavily bearded, and all look
much alike. It would be impossible to call one Peter, and another
Paul, or to identify any particular persons. Evidently it was not the
intention of the artist to distinguish individuals. All the figures
are turned with lifted faces towards the vision in the dome. Each
expresses, by a gesture, the wonder, joy, rapture, or admiration
aroused by the spectacle. Their attitudes are somewhat extravagant and
self-conscious. The drapery, too, is rather fantastic, fl