Languages of Baroque
Illusion, Gesture and Movement
Illusion, gesture and movement animate a church interior, giving it life, creating a harmonious universe.
Illusion, gesture and movement animate a church interior, giving it life, creating a harmonious universe; heaven on earth full of hope for those who enter. In the 17th and 18th centuries there would have been few things in daily life able to amaze an ordinary man. Coming to church certainly would have been the peak of his visual and emotional experience; a place where he felt embraced and welcomed; a place in which he could confirm his belief and where he could expect comfort. Even the smallest church with its high altar and theatrical appearance was able to astound simple men. Marble, gold, harmony, virtue, God's presence, and beauty – to attract believers by all those means – that was the mission of the church.
Church of the Gesù, painted architecture of the high altar

1699–1700
Frascati, Rome, Latium, Italy
Andrea Pozzo (1642, Trento – 1709, Vienna) with the help of his Jesuit pupil, Antonio Colli (died, Rome, 1723)
A shortage of economic resources prompted Andrea Pozzo to create an illusory extension to the church by painting a prolongation of the choir behind the high altar, which contains a mock shrine, and stands before a representation of the Circumcision of Jesus.