Premise: Inside, on the ceiling of the central octagonal dome, are Correggio's greatest masterpieces, his frescoes of the Assumption of the Virgin (1530) where he achieved, in the truest sense, exalting emotion without the sentimentality of Mannerist imitators.

Hypothesis: Correggio's work is displayed on both the ceiling and walls of the dome, with his best pieces on the ceiling.
Relation: neutral