The Assumption of the Virgin

A finished compositional study for a large scale decoration for an arched wall, or possibly the ceiling of a church. The blue-grey paper gives a middle tone to the drawing allowing Rovere to use both darks and lights to great effect, creating a mass of cherubs and angels illuminated by heaven's rays. The arrangement of the figures emphasises the fact that the painted design was meant to be viewed from below giving an illusion of the heavens opening up above the viewer's head to receive the Virgin Mary. This type of illusionistic vision was common among Baroque painters of the 17th century and used by Rovere and his brother in their fresco-work for churches in Milan and surrounding Lombardy.