It includes elements such as the accurate depiction of the anatomy of humans and beasts, of perspective and effects of distance, and of detailed effects of light and colour. The development of increasingly accurate representation of the visual appearances of things has a long history in art. Lord Leighton's Cimabue's Madonna Carried in Procession of 1853-1855 is at the end of a long tradition of illusionism in painting, but is not Realist in the sense of Courbet's work of the same period. Other forms, such as the illusionistic tradition in the theatre, and Samuel van Hoogstraten's 'peepshow'-boxes from the seventeenth century, combine illusionistic techniques and media. Sculptural illusionism includes works, often painted, that appear real from a distance. Illusionism encompasses a long history, from the deceptions of Zeuxis and Parrhasius to the works of muralist Richard Haas in the twentieth century, that includes trompe-l'œil, anamorphosis, optical art, abstract illusionism, and illusionistic ceiling painting techniques such as di sotto in sù and quadratura. The term realist may be used in this sense, but that also has rather different meanings in art, as it is also used to cover the choice of ordinary everyday subject-matter, and avoiding idealizing subjects. Illusionism in art history means either the artistic tradition in which artists create a work of art that appears to share the physical space with the viewer or more broadly the attempt to represent physical appearances precisely – also called mimesis. The stucco reliefs were executed by Ercole Antonio Raggi and Leonardo Reti, following the drawings of Baciccia who wanted to effect a real continuity between painting and sculpture. The fresco is the work of Giovanni Battista Gaulli, known as Baciccia. The decorations of the vault over the nave date back to the 17th century. Triumph of the Name of Jesus, by Giovanni Battista Gaulli, on the ceiling of the Church of the Gesu.

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