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Updated: May 28, 2025
We can touch the things scattered on the foreground, can handle the weapons, the furniture, the books and musical instruments; we can see, or think we see, most plainly the streets and paths, the faces and movements of that Renaissance world; but when we try to penetrate into it, we shall find that there is but a slip of solid ground beneath us, that all around us is but canvas and painted wall, perspectived and lit up by our fancy; and that when we try to approach to touch one of those seemingly so real men and women, our eyes find only daubs of paint, our hands meet only flat and chilly stucco.
The masonry is no longer covered, but carved, rendered uneven with the cavities and protrusions of perspective. In Mantegna's frescoes the wall becomes a slanting theatre scene, cunningly perspectived like Palladio's Teatro Olimpico; with Correggio, wall, masonry, everything, is dissolved, the side or cupola of a church becomes a rent in the clouds, streaming with light.
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