Parma's cathedral rises where an older church collapsed in the 1117 earthquake, rebuilt through the twelfth century in warm Romanesque stone. Its dome hides the real event: between 1526 and 1530 Correggio painted the Assumption of the Virgin as a swirling vision of clouds and bare feet, a perspective so radical that a contemporary canon reportedly compared it to a stew of frogs' legs.
Benedetto Antelami, sculptor of the cathedral's Deposition relief (1178), also designed the octagonal Baptistery next door, raised in pink-veined Verona marble and carved with the months of the year, the zodiac, and scenes from Christ's life. Inside, his frescoed vault turns this small space into one of Emilia's most complete medieval interiors.





