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: Some of Correggio's best artwork can be found on the flooring of the central dome.
Relation: contradiction