As the graceful bearer of the twelve stars that constitute Crown of Immortality is unequivocally extending it to the heraldic swarm, she earnestly looks towards Divine Providence.

Some scholars have suggested that one of the fresco's goals was to portray the Barberini papal election, which had been rumored to have been rigged, as divine providence.

Baldassare Peruzzi had pioneered this style of painting called quadratura, in which the fresco replaces or simulates some of the architectural framework, using often forced perspective.

Such trompe-l'œil artifices were not novel to Italian art, since for example Mantegna and Giulio Romano in Mantua had featured such frescoes; however, for Cortona, the luminous sky became a teeming tour de force, a style that influenced many other large fresco spectacles such as those by Tiepolo for example, in Madrid,[2] by Ehrenstrahl in his "Council of the Virtues" from the House of Nobility, in Stockholm and in the frescoes depicting the Apotheosis of the Pisani Family [3] in the Villa Pisani at Stra.

Other famous sotto in su frescoes in Rome include Andrea Pozzo's Apotheosis of St Ignatius [4] at the Roman church of Sant'Ignazio.