St Philip Neri in glory, design for a ceiling painting 1670 - 1770

Editor: So, this is a preparatory drawing entitled "St Philip Neri in glory, design for a ceiling painting," dating from around 1670-1770. It’s ink on paper. The sketchiness gives it a dynamic, almost ethereal quality. What is your reading of it? Curator: As a historian, I find this drawing fascinating because it speaks volumes about the role of the church and the visual rhetoric of power during the Baroque era. These ceiling paintings weren’t just decoration, they were powerful tools used to communicate religious narratives. How do you think the placement on a ceiling would have impacted the viewer's experience? Editor: I imagine it would inspire awe, forcing the viewer to look upwards, both physically and spiritually. The way St. Philip Neri is depicted, surrounded by angels, really reinforces that. Do you see any particular historical influences in the piece? Curator: Absolutely. The Baroque style, with its emphasis on drama, movement, and grandeur, served the Catholic Church’s agenda during the Counter-Reformation. This work is pure propaganda, aimed at inspiring faith and devotion. The ubiquity of cherubs suggests divine approval. It would be fascinating to research more on how ceiling painting programmes operated. Does the composition strike you as traditional? Editor: It feels fairly standard, almost formulaic, yet effective. Now I am wondering, who was this St. Philip Neri, and what message was the Church trying to promote through his image? Curator: Exactly. This kind of visual language cemented hierarchies. By understanding this artwork within its socio-political context, we begin to grasp its deeper function as a tool of institutional power. A simple drawing reveals a lot, right? Editor: Definitely. Seeing how this drawing operated in the 17th century sheds light on how imagery functions in society today. Thanks for this great learning moment.