Correggio's first major commission (February–September 1519) was the ceiling decoration of a private chamber of the mother-superior (abbess Giovanna Piacenza) of the convent of St. Paul in Parma, now known as Camera di San Paolo. Here he painted an arbor pierced by oculi opening to glimpses of playful cherubs. Below the oculi are lunettes with images of statues in feigned monochromic marble. The fireplace is frescoed with an image of Diana. The iconography of the scheme is complex, combining images of classical marbles with whimsical colorful "bambini". He then painted the illusionistic "Vision of St. John on Patmos" (1520–21) for the dome of the church of San Giovanni Evangelista. Three years later he decorated the dome of the Cathedral of Parma with a startling "Assumption of the Virgin", crowded with layers of receding figures in Melozzo's perspective ("sotto in su", from down to up). These two works represented a highly novel illusionistic "sotto in su" treatment of dome decoration that would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco "Assumption of the Virgin", in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of "Santa Maria dei Miracoli" in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches. The massing of spectators in a vortex, creating both narrative and decoration, the illusionistic obliteration of the architectural roof-plane, and the thrusting perspective towards divine infinity, were devices without precedent, and which depended on the extrapolation of the mechanics of perspective. The recession and movement implied by the figures presage the dynamism that would characterize Baroque painting. Other masterpieces include "The Lamentation" and "The Martyrdom of Four Saints", both at the Galleria Nazionale of Parma. The "Lamentation" is haunted by a lambency rarely seen in Italian painting prior to this time. The "Martyrdom" is also remarkable for resembling later Baroque compositions such as Bernini's "Truth" and Ercole Ferrata's "Death of Saint Agnes", showing a gleeful saint entering martyrdom.