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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 expression is very roguish. The little fellow with the flambeau is at the left, and last is one whose face is turned away towards the imaginary space behind the balcony.
Our illustration gives us a general idea of Correggio's decorative method. The human body was his material; his patterns were woven of nude figures, posed in every possible attitude. Every figure is in motion, and the whole multitude palpitates with the joy of living.