The present article is based on the book: Gli affreschi di Correggio (The frescoes of Correggio, Milan, 2008) by Maria Cristina Chiusa. The author proposes a re-reading of the three cycles of frescoes done by Correggio in Parma: for the Camera di San Paolo and for the domes of the church of St John Evangelist and in Parma cathedral, Santa Maria Assunta. Thanks to recent renovations, this new investigation allows for a new reading and analysis of the individual pieces of paintings done by the artist, pointing to the heart of Corrreggio’s art. While retracing Christian and pagan elements in the work of the artist, the essay opens with a discussion about the parallel of the antique in Allegri’s art, an interpretation which questions the real value of the nuditas in the sacred and mythological representations of the painter.