Theatricality, the use of light and shade, or colour, for dramatic effect in the painted or sculpted decoration of churches and in church architecture, was a language understood by many people during the Baroque era. Looking at these permanent, magnificent spettacoli sacri, or their temporary forms, prepared the faithful for religious festivities where spiritual, religious theatricality would be met in excess. Quadratura – illusory paintings – along with the other artistic tools were intended to elevate the viewer and open the minds of the faithful in order to meditate on and participate in the ecstasy of a saint and reach a visionary state in which to experience a humble devotion.
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Name | Dynasty | Details | Justification |
Church of Santa Rosalia, funerary monuments to Prince Taddeo Barberini and Cardinal Antonio Barberini | 1704 | Palestrina, Rome, Latium, Italy | However eternally frozen in marble, the Barberinis seem to be peering out from their balconies through the visitors entering the church, turning towards the altarpiece and pointing both to the altar and towards the church. The curtain that seems to be a real velvet woven through with gold threads feels like just pulled away right now. | Church of St. Ignatius, Triumph of St. Ignatius ceiling fresco | 1691–94 | Rome, Latium, Italy | The fresco combines all the scenic elements of architectural quadratura: light and shade, perspective, group and scenic composition, to maximise its theatrical impact. | Church of the Gesù, painted architecture of the high altar | 1699–1700 | Frascati, Rome, Latium, Italy | The chancel arch, like the proscenium arch surrounding a stage, reveals the stage-like scene of the illusory altarpiece.Name | Dynasty | Details | Justification |
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Church of the Gesù, painted architecture of the high altar | 1699–1700 | Frascati, Rome, Latium, Italy | The illusory painting behind the main altar appears as if it were a scene from a play. The device, known as theatrum sacrum or sacra rappresentazione, brings this pictorial representation from the Life of Christ into the viewer's present. In this theatre, the faithful, in some mysterious, secret and miraculous way are crossing the border between the temporary world and the eternal world. | Church of the Gesù, painted architecture of the high altar | 1699–1700 | Frascati, Rome, Latium, Italy | The magnificent illusory painting of a cupola has hidden spiritual and symbolic meanings. | | House of Pilate | 1784 | Oberammergau, Upper Bavaria, Germany | The illusory façade paintings appear as if they are scenes from a play showing at an outdoor theatre, or perhaps, actual scenes from the Bible. In Oberammergau, theatrum sacrum or Passion Plays are still performed today just as they have been since 1634.Name | Dynasty | Details | Justification |
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House of Pilate | 1784 | Oberammergau, Upper Bavaria, Germany | With its shining gilt, the Resurrection represents the transformation to the eternal and the heavenly. | House of Pilate | 1784 | Oberammergau, Upper Bavaria, Germany | View of Lüftmalerei (lit. "air paintings"), which are a form of Bavarian trompe l'oeil or illusory painting. | | Silver Altar and Coronation Set | 1735–1736 | Brno-Old Brno, Moravia, Czech Republic | The use of natural light and the reflective nature of the silver and the gold accentuate the theatrical effects of the altar.Name | Dynasty | Details | Justification |
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The Virgin Mary of Old Brno | Second half of the 13th century? | Brno-Old Brno, Moravia, Czech Republic | | | Conversion of St. Paul Altarpiece | 1760 | Croatian History Museum Zagreb, North-West Croatia, Croatia | The altar-frame, which acts much like the proscenium arch surrounding a theatrical stage or the set built around a sacra rappresentazione, even one built temporarily on a city square, makes this scene from the Conversion of St. Paul appear as if it were being performed on stage. The gestures would have been familiar to contemporary audiences as they were translated to fine art from the theatre.Name | Dynasty | Details | Justification |
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Conversion of St. Paul Altarpiece | 1760 | Croatian History Museum Zagreb, North-West Croatia, Croatia | Detail of the saint on the left. | Conversion of St. Paul Altarpiece | 1760 | Croatian History Museum Zagreb, North-West Croatia, Croatia | Detail of the saint on the right. | | |