Can Gian Lorenzo Bernini’s Baroque chapels be considered immersive environments? Answering this question could help to better define some aspects of the elusive notion “of immersiveness” and contribute to its archaeology. In this perspective, the paper takes up some aspects of an analysis I dedicated many years ago to the Albertoni Chapel of San Francesco a Ripa in Rome (1672). In this “bel composto” of architecture, sculpture and painting, a whole series of connections and “leaps” between the arts can be grasped: the “pathetic montage” that governs this dynamic breaks down the figure of the blessed woman’s body until culminating beyond the figure in a storm of stone folds where the liquidity of a soul detached from the body, but itself endowed with a form of sensibility, is exhibited. This ecstatic journey includes the viewer, who is invited to recompose the heterogeneous elements of the “beautiful compound” and intensely urges the viewer to participate in its continuous recomposition.