The solemn interior, Gothic style, is made slender by sixteen ribs that radiate towards the ogival vault converging in the keystone ring. In the centre, the double baptismal immersion pool, also with an octagonal structure, dates back to the end of the 13th century. Always inside the cycle of months and seasons and the respective zodiac signs carved by the’ Antelami. The building, domed, has in the lower part semicircular niches and in the upper part two orders of lodges. In the internal vault tempera paintings of the second half of the thirteenth century.

Dedicated to the Assumption, the Cathedral of Parma is among the most representative Romanesque buildings of the period. Begun around 1059, it was consecrated in 1106.  Today the façade has a gabled roof, three orders of loggias and three portals. The facade, between two towers, originally designed as the contemporary one of the Cathedral of Fidenza, now sees only one, built between 1284 and 1294 and bearing on the cusp the golden copper angel now inside the Diocesan Museum. The second tower was begun in 1602 and soon after interrupted.

Inside the Duomo has a structure with three naves and a transept with side chapels terminated by apses. The interior decoration features sculptural pieces of considerable interest, while in the transept, is walled the Deposition of the Antelami. Between 1525 and 1530 Correggio painted the dome one of the masterpieces of Italian art of the 500, representing the Assumption of the Virgin surrounded by the Apostles, ephebes and angels bearing musical instruments and in the plumes the patron saints of the city. Preceded in chronological order by the construction of the dome of the Church of San Giovanni, between 1520 and 1523, it represents the highest point of the expressive ability and illusionistic research of the Emilian master, born in Proofread, between 1489 and 1494. The swirling upward motion of the saints, in a glimpse of the sky, completely cancels the real space and represents the fundamental model to which the great baroque decorations of the following century will be redone. The innovative ability of Correggio, which reaches its climax here, However, the patrons did not like it, so much so that the master who would later have had to deal with the decoration of the apse of the church, as soon as the great fresco was finished, left the yard.  Also by Correggio inside the Cathedral are the apostles depicted on the drum of the dome, the saints of the plumes and the six elegant monochrome figures at the ends of the under arches.