During the construction of the church of Sant'Ignazio, there was a dispute with the Dominicans of Santa Maria sopra Minerva who objected the planned cupola because it would have stolen light from their library. It was recommended by the architect Mattia de'Rossi, that the cupola problem could be resolved by having one painted instead of actually built. The architecture painter and Jesuit lay brother Andrea Pozzo was selected for the commission, which was completed in 1685.

The effect of the simulated cupola rests largely on the figural groupings on the pendentives, which were executed immediately after the canvas with the painted cupola was put in place. Painted on actual concave pendentives, they make the sham cupola more believable, especially when viewed from the entrance. The monumental figures (Judith, David, Samson, Jael) have an imposing physicality, emphasized by their bright colours and strong contrasts.

The fresco in the apse calotte was executed in 1687-88. It shows St Ignatius floating downward on a cloud as a helper of Rome's sick and poor. Here the painter produced a seemingly two-dimensional image on a concave surface. The antechoir vault fresco, painted at the same time, depicts the Vision of St Ignatius at the Battle of Pamplona.

Pozzo secured the commission for painting of centre aisle in 1688. He worked on St Ignatius in Glory, The Four Corners of the World, and the Mission of the Jesuit Order for five years until the unveiling in July, 1694.

The painted program in the church was completed in 1697-98 by frescoes on the right transept vault (Vision of St Maria Maddalena de' Pazzi) and on the tribune wall (three scenes from the lives of Jesuit saints). The left transept was frescoed only in 1720 with the Assumption of the Virgin by Ludovico Mazzanti.

In the artistic skill and trompe-l'oeil technique the decoration of Sant'Ignazio could not be surpassed. For Rome such virtuosity in perspective was both a climax and a conclusion.

Preview	Picture Data	Info
	View of the nave, crossing, and choir 1685-97 Oil on canvas and fresco Sant'Ignazio, Rome
	Nave vault: Allegory of the Jesuits' Missionary Work 1688-94 Fresco Sant'Ignazio, Rome
	Nave vault: Allegory of the Jesuits' Missionary Work 1688-94 Fresco Sant'Ignazio, Rome
	Allegory of the Jesuits' Missionary Work (detail) 1688-94 Fresco Sant'Ignazio, Rome
	Allegory of the Jesuits' Missionary Work (detail) 1688-94 Fresco Sant'Ignazio, Rome
	Allegory of the Jesuits' Missionary Work (detail) 1688-94 Fresco Sant'Ignazio, Rome
	Allegory of the Jesuits' Missionary Work (detail) 1688-94 Fresco Sant'Ignazio, Rome
	Allegory of the Jesuits' Missionary Work (detail) 1688-94 Fresco Sant'Ignazio, Rome
	The Four Corners of the World: Europa 1685-97 Fresco Sant'Ignazio, Rome
	The Four Corners of the World: America 1685-97 Fresco Sant'Ignazio, Rome
	The Four Corners of the World: Asia 1685-97 Fresco Sant'Ignazio, Rome
	The Four Corners of the World: Africa 1685-97 Fresco Sant'Ignazio, Rome
	Simulated cupola 1685 Oil on canvas Sant'Ignazio, Rome
	Painting on the pendentive: Judith 1685 Fresco Sant'Ignazio, Rome
	Painting on the pendentive: David 1685 Fresco Sant'Ignazio, Rome
	Painting on the pendentive: Jael 1685 Fresco Sant'Ignazio, Rome
	Painting on the pendentive: Samson 1685 Fresco Sant'Ignazio, Rome
	Apse calotte: St Ignatius Helping the Sick and Poor 1687-88 Fresco Sant'Ignazio, Rome
	Apse calotte: St Ignatius Helping the Sick and Poor 1687-88 Fresco Sant'Ignazio, Rome
	Antechoir vault: Vision of St Ignatius at the Battle of Pamplona 1687-88 Fresco Sant'Ignazio, Rome
	Right transept vault: Vision of St Maria Maddalena de' Pazzi 1697-98 Fresco Sant'Ignazio, Rome