By Stefanie Toth
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Dresses, particularly women’s, are on the whole conceived so as to am plify the human figure without altering its propor tions. The simplified synthesis which triumphs in the Cinquecento. with its emphasis on effects of volume, is evident also in the ample and majestic flow of the fabrics on the forms of the body. Thus the break— already i6 m a s t e r o f t h e b o r r o m f o g a m e s : The Game of the Palma (detail). Fresco, ca. 1450; Casa Borromeo, Milan Time Unveils Truth 31 begun at the end of the fifteenth century— is completely effected from the sharp Gothic predilection for the straight line  which delighted in the naive and curious invention of m inute details.
D iner and D orc) in certain Hyrortic fantasies of D elacroix; and m Beethoven's b verm res to Coriolan and EcjmonL "works in w hich,” he says, with various degrees of success, the affinity of the related compositions, either m usical or visual or literan seem s to culm inate in an effort to express in the sam e m anner the sam e inexpressible thing, to conjure up through different spells the sam e half-re vealed m etaphysical world [po w evotjiier par des joriu nles inaqiqucs differentes tin memc uu-dela senii-snscite}.
The castle Horace Walpole built in the Gothic style at Strawberry Hill in the middle years of the eighteenth century strikes us today not so m uch as Gothic as, rather, Rococo in a Gothic travesty. The painting of Ju piter and Ganym ede w hich W inckelm ann adm ired as a genuine antique, w hereas it had been executed by his contem porary Mengs, reveals itself to us clearly as a neoclassical composition. We detect the languid art nouveau flavor in certain “ antique” Sienese and Florentine paintings forged bv Icilio Federico Joni [19 ].