Why Christ is playing with the Magdalene’s Hair
Nicholas Penny: Correggio, 2 July 1998
“... lean into the picture or out of it, and the projection towards us of an elbow or the sole of a foot accelerates the compositional rhythms and encourages communion between the figures – and with us. Correggio was capable of far more daring foreshortening – notably in the aerobatic angels and gesticulating apostles on the domes of S. Giovanni Evangelista ... ”