Note 194 — Chapter III · (XVII.)

Correggio is responsible for many of the forced effects of drawing in the decorative painting of vaults and ceilings in later times, but the Umbrian Melozzo da Forlì in his painting of the Ascension of Christ, now destroyed save for the fragments in the Quirinal and in the sacristy of St. Peter’s at Rome, may have the doubtful honour of beginning the practice of foreshortening a whole composition, so that the scene is painted as it would appear were we looking up at it from underneath.