These two works represented a highly novel illusionistic "sotto in su" treatment of dome decoration that would exert a profound influence upon future fresco artists, from Carlo Cignani in his fresco "Assumption of the Virgin", in the cathedral church of Forlì, to Gaudenzio Ferrari in his frescoes for the cupola of "Santa Maria dei Miracoli" in Saronno, to Pordenone in his now-lost fresco from Treviso, and to the baroque elaborations of Lanfranco and Baciccio in Roman churches. The massing of spectators in a vortex, creating both narrative and decoration, the illusionistic obliteration of the architectural roof-plane, and the thrusting perspective towards divine infinity, were devices without precedent, and which depended on the extrapolation of the mechanics of perspective. The recession and movement implied by the figures presage the dynamism that would characterize Baroque painting.