Alessandro Salucci

In 1635 he worked in the Santa Maria in Vallicella (also known as the 'Chiesa Nuova') where in the Chapel of the Presentation of Our Lady he painted fresco's on the vault, depicting the story of Hannah, Elkanah and the young Samuel.

The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome.

Codazzi's vedute where, however, more realistic in nature than those of Salucci who showed more creativity and fantasy in his works in which he rearranged many Roman monuments with elegance.

[10] Unlike the Flemish and Dutch artists active in Rome who strived for realism in their depictions of Roman cityscapes, many of Salucci's city and harbour views do not aim to give a realist rendering of his subjects.

Salucci's compositions are generally composed of a Roman arcade dominating the centre on the left, water in the distance on the right, and figures in the foreground.

Salucci's work reveals an awareness of the classical marine views of Claude Lorrain, who was active in Rome in the 1640s and 1650s.

Claude's warm, golden light and balanced compositional structure are found in Salucci's works such as the Fantasy view with figures (Busiri-Vici collection, Rome) which was likely inspired by Claude's port views, such as Seaport with the Embarkation of the Queen of Sheba of 1648 (National Gallery, London).

[12] Miel excelled in depicting stories for which the large open spaces in Salucci's view paintings provided suitable settings.

[7] Miel's figures were typically farmers, beggars, morra players, innkeepers and porters often mixed with elegantly dressed men and women, thus providing a rich flavor of Roman daily life to the architectural setting created by Salucci.