How did Correggio build on Andrea Mantegna's illusionistic ceiling techniques?

Correggio built upon the illusionistic ceiling techniques pioneered by Andrea Mantegna by expanding the scope and dramatic impact of sotto in su (extreme foreshortening) in his own dome frescoes in Parma.

While Mantegna established the foundation for total spatial illusionism—most notably in the Camera degli Sposi, where he used a painted oculus to blend the viewer's space with the frescoed figures—Correggio took these concepts to a grander scale. In his masterpiece, the Assumption of the Virgin in the Parma cathedral, Correggio treated the entire architectural surface of the dome as a single, vast pictorial unit. By doing so, he effectively equated the church dome with the vault of heaven.

Correggio’s work is distinguished by his audacious use of foreshortening, which makes figures appear to protrude realistically into the spectator's space. This approach anticipated the dramatic, immersive illusionism that would later define Baroque ceiling painting.1234