ung about
their figures, leaving arms and legs bare. Were the picture taken out
of its surroundings it would scarcely suggest a Christian subject.
These colossal beings are like Titans moving through the figures of a
sacred dance, and murmuring the mystic incantations of some heathen
rite.

[Illustration: APOSTLES AND GENII
_Cathedral, Parma_]

But we must not press our interpretation too far. The panel should be
studied for its decorative quality as a part of a larger scheme.
Viewed from below, this procession of figures must be exceedingly
effective. The emphasis of lines is diagonal, flowing in the direction
of the focal point of the whole decoration.

The genii of the balustrade are beings of Correggio's own creation.
His imagination called forth a world of spirits without a counterpart
in the work of any other painter. Lacking the wings usually given in
art to angels, they also lack the proper air of sanctity for heavenly
habitants. Yet they are far too ethereal for mortals. Neither angel
nor human, they are rather sprites of elf-land. With their tossing
hair and agile motions they remind us of woodland creatures, and they
look shyly out of their eyes like the furtive folk of the forest.

They are sportive, but not mischievous, in the human sense. They
frolic in the pure delight of motion. By mortal standards of age they
are between childhood and youth, when limbs are long and bodies
supple. Their only draperies are narrow scarfs which they twist about
them in every conceivable way.

Of the seven figures seen in our illustration, two only have any
ostensible purpose to serve. One seems to be lighting a candelabrum
with a flambeau; another carries a bowl which may be used for incense.
The others are idlers. If they have any duties as acolytes, these are
for the moment forgotten. Several are attracted by the ceremonies in
the cathedral and look down from their high perch upon the worshipping
congregation.

The sprite at the extreme right is seated, and peeps over his shoulder
with a rather dreamy expression. Next come two who are playing
together, one throwing up his left arm as if to balance himself.
Beyond the candelabrum is one whose parted hair and coquettish pose of
the head give a feminine look to the figure. The sprite in the centre
of the balustrade is the most winsome of the company. His bright eyes
have spied out some one in the congregation, and stooping, he points
directly at the person. His expr