Camera di San Paolo

In the former Benedictine convent of San Paolo, the Camera of Abbess Giovanna da Piacenza is known for Correggio's illusionistic frescoes, completed in 1519. Painted branches and openings transform the room's late-Gothic umbrella vault into a leafy trellis, while putti and mythological figures extend the painted world across the chamber.

Why it matters

The Camera forms part of the private apartment of Giovanna da Piacenza, abbess of San Paolo during the convent's Renaissance flourishing. Correggio's frescoes brought a new illusionistic language to Parma; the room is regarded as a major work of Italian Renaissance art. It is one of two communicating decorated chambers in the former convent: the adjoining room was painted by Alessandro Araldi in 1514.

What to notice

The real vault is a late-Gothic umbrella vault with ribs that meet at a central boss. Correggio painted an interlacing canopy of branches across it, making the ribs seem to disappear. Sixteen segments radiate from the centre, where the abbess's triple lunar emblem appears. Putti look out through painted openings, carrying symbols associated with the hunt; monochrome mythological figures occupy the lunettes below. Over the fireplace, Diana rides in her chariot, preparing to depart for the hunt.

The route through the apartment begins in Araldi's earlier room. Its blue candelabrum vault is surrounded by roundels, panels and lunettes depicting scenes from the Old and New Testaments, providing a contrast with Correggio's leafy illusionism.

Context and history

The Benedictine convent was rebuilt at the end of the fifteenth century and reached a period of particular prominence in the fifteenth and sixteenth centuries under abbesses including Cecilia Bergonzi and Giovanna da Piacenza. Araldi's room dates to 1514; Correggio completed the Camera in 1519. At the edge of the convent garden, the nearby Cella di Santa Caterina preserves additional frescoes by Araldi, including scenes of Saint Catherine and Saint Jerome.