Assumption Art Series: Correggio

 

This 16th century late Italian Renaissance fresco is The Assumption of the Virgin by Correggio.  It covers the dome of the Cathedral in Parma, Italy. The fresco measures 11.9 yards by 13 yards. Aside from Jesus, Mary, angels, and the Apostles, it depicts Adam, Eve, and Judith with the head of Holofernes. 

It was painted during the first decade of the Protestant Reformation. Some commentators point out that it affirms Catholic doctrines that the Reformation attacked:

Transubstantiation:  Protestants deny the Real Presence of Christ in the Eucharist and view the liturgy as only a memorial. The fresco shows Christ descending toward the high altar. And, when the priest elevates the Eucharist, the eyes of the faithful are drawn toward the depiction of heaven on the dome. Thus the artwork can be seen as affirming that the sacrifice on earth is also happening in eternity and that Christ is truly present in the consecrated species.

Mary's role:  Protestants deny Mary's role, claiming "Sola  Christo" (Christ alone).  The image of Mary on the dome shows her in her glorified body rising toward heaven.  (And, we know that there she will continue her role as our mediatrix of graces.  (Pope Pius X, Ad Diem Illum Laetissimum (1904), Paragraph 14 - Note that readers will need to scroll down to paragraph 14 at this Vatican page).

Church hierarchy:  Protestants deny the importance of the church hierarchy, claiming "Sola Scriptura" (scripture alone). The fresco shows that the Apostles along with scripture are the foundation and pillars of the Church (1 Tim.3:15).  At the same time, we proclaim that Christ is the anchor (Heb. 6:19) or cornerstone (Eph. 2:20).

It should also be noted that Italy was in turmoil at the time (the Italian Wars), which is a topic way too complex to describe here.