ASSUMPTION OF THE VIRGIN, PARMA CATHEDRAL

(1526-1530)

Correggioreceived the commission for theAssumptionafter attaining great success with hisVision of St.John the Evangeliston Patmos, thedome frescoin the Church of San Giovanni Evangelista in Parma (1520-1524). Like theVision of St.John, hisAssumptionis a tour de force of illusionism. It occupies the cathedral's main octagonal dome and is made to look as if the architecture has been removed to reveal a vision of theVirginascending to heaven. Theforeshorteningof the figures is so heavy that they do in fact seem to be rising, their undersides clearly visible. Figures and clouds are arranged in concentric circles, with the Virgin being raised up by putti as she extends her arms to welcome her reunion with her son, who greets her into heaven. Correggio beautifully integrated the oculi (round openings) at the base of the dome into the composition as theapostlesand other witnesses of the miraculous event seem to either sit or lean on them. The realism, energy, and drama of the scene greatly influenced future generations of artists, particularlyBaroquemasters who sought to replicate Correggio's convincing illusionism, among themGiovanni Lanfranco, who based hisVirgin in Gloryfrescoon the dome at Sant' Andrea della Valle,Rome, on Correggio's masterpiece.