Correggio, Assumption of the Virgin (fresco in the main dome in the Parma Cathedral in Parma, Italy), c. 1526-30
About the same time Romano was decorating the Palazzo de Te, Correggio was creating theatrical effects in Parma through dramatic foreshortening. The fresco recalled Mantegna's ceiling and soft forms of Leonardo. Spotlighting, illumination and a slightly haze over everything (sfumato). The illusion is such that the architecture of the dome seems to dissolve and the forms explore up into a swirling vortex of saints and angels, who rush upwards into billowing clouds, to accompany the Virgin as she soars into heaven - at the moment of her death (Marilyn Stokstad, Art History, Volume Two. Upper Saddle River, NJ: Pearson Education, 2008, 680-81).