Abstract
In 1610, Guido Reni designed and supervised a fresco cycle depicting the life of the Virgin for Paul V's private chapel in his summer home, the Quirinal Palace. Though the chapel has been cited as a harbinger of the fully developed “Baroque” style, a closer examination of its meaning and how its visual qualities serve it reveals something quite different. Rather than a dynamic interior that anticipates the Baroque machinations of the later century, the Quirinal Chapel is a divided interior with subgroups of imagery that facilitate private contemplation of the Immaculate Conception.
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