In the history of art, the illusory game that seeks to integrate and merge different building and representation components is usually associated with the barroc ecclesiastical interior devices, while the redefinition of the relationship between architecture and image as a result of a virtuous deployment of ornamental framing and transitions coincides in several parts of Europe, albeit under different styles, in early and mid-18th century. An example of a unique manifestation of that taste by the ecclesiastical pseudo-scepic interior is now erected by the great architect Germain Boffrand (1667-1754). This article will observe that the tableware lends itself to contextualisation that depends on a number of immersive spaces. It broke a gear connection between ways of understanding architecture, practising the performance and conceptualising emotion in the natural world. The main objective of this contribution will be to follow these paths suggesting the centrality of the viewer, as well as a high time of innovation and dynamisation of spectacular technology.