The essay "Mannerism and Post Impressionism" investigates mannerism and post-impressionism. Mannerist art began movement as an artistic concern sculpture and painting. Paintings like the Assumption of the Virgin or the deposition and Entombment indicate the passage of time. In addition. mannerist technique also developed a style to differentiate between the divine and the earthly. From the painting line controlling color accepted in the 15th century, the line art was substituted with delicate intonation of tone. The types were less tangible and clearly defined. Generally, line art appealed to the intellect however color appealed to the emotions. During the era of Renaissance, space was clearly described in architecture and art. Nevertheless, in Mannerism, borders were blurred and “no clear surface to act as a point of reference for the projecting and receding architectural elements”. Immediately as the space in architecture and painting began to cease, the individual art forms were combined. It was feasible to make use of a combination of sculptural, architectural and painting elements as Correggio did when he decorated the Camera de S Paolo at the monastery of S Paolo in Parma. Subjective and anti-classicism expression was characteristic of mannerist paintings. A key component was the distortion of the human figure to make it more communicative. Generally, the art theory during the mannerist period “was concerned with aesthetic problems instead of the empirical problems of anatomy, proportion and perspective”.