Correggio, Antonio Allegri (1489 Correggio - 1534 Correggio), After his training, probably in Bologna and Ferrara, Correggio developed his own style based on Leonardo and 16th. century Venetian painting. His innovations were of the utmost importance to European Art. He developed new ways of handling light and colour, creating the illusion of open walls and ceilings. Stimulated by the treatment of light by Mantegna (Camera degli Sposi in Mantua, Palazo Ducale) and Leonardo (Sala delle Asse, Milan, Castello Sforcesco), Correggio opened up the refectory ceiling in the Convento di San Paolo in Parma (1518/19) purely by using his new painterly devices. The cuola frescos in San Giovanni Evangelista (Christ ascending to heaven, 1521-1523) and in Parma Cathedral ("Ascention of Christ in Glory", 1526-1530, show that he did away completely with the upper margin so that his frescos cover the entire cupola. In his altar pieces and mythological scenes Correggio increasingly abandoned outline, using colour and light to balance froms and in this way achieving an overwhelming radiance. The High Renaissance structure, whose principle was founded on the anthesis of statics and dynamics, was transformed by Correggio to asymmetry and movement, as shown by his foreshortened figures whose posture is often complicated. ("Madonna and St. Sebastian", Dresden, Gemåldegallerie, c. 1525; "Madonna and St, Jerome", Parma, Galleria Nazionale, c. 1527). Correggio's treatment of light and shade ("The Nativity", Dresden, Gemäldegallerie, c. 1530; "Zeus and Io"), was to point far into the future.