After the exemplary restoration work carried out by Maurizio de Luca, completed in February 1991, much has been written about the frescoes in the St. Ignatius corridor and even more, and consequently, about Andrea Pozzo. Here it will be enough to mention two wonderful monographs: the one edited by Vittorio De Feo and Vittorio Martinelli in 1996 (1) and the other, also published in 1996, which gathers the Proceedings of the Congress ‘Andrea Pozzo e il suo tempo’ (Andrea Pozzo and his Time) that took place in Trento at the end of November 1992 (2). In this last volume there is also an important contribution made by master De Luca. Very much, so, has been said, but I do not think the subject has been exhausted. On the contrary, as it often happens in scientific research, more in-depth knowledge reveals new mysteries and it opens new questions. In particular, the authoritative studies that I cited and others, that I do not have the opportunity to mention here, do not at all seem to consider the problem of perspective construction in fresco paintings. This is quite surprising, because in the construction of this involving perspective is contained the secret of the illusionistic magic of this work of art and, at the same time, the secret of the geometrical knowledge of Andrea Pozzo and of his time.
Geometria e mistero nelle prospettive di fratel Pozzo alla casa professa del Gesù / Migliari, Riccardo. - STAMPA. - 2(1999), pp. 71-91.
Geometria e mistero nelle prospettive di fratel Pozzo alla casa professa del Gesù
MIGLIARI, Riccardo
1999
Abstract
After the exemplary restoration work carried out by Maurizio de Luca, completed in February 1991, much has been written about the frescoes in the St. Ignatius corridor and even more, and consequently, about Andrea Pozzo. Here it will be enough to mention two wonderful monographs: the one edited by Vittorio De Feo and Vittorio Martinelli in 1996 (1) and the other, also published in 1996, which gathers the Proceedings of the Congress ‘Andrea Pozzo e il suo tempo’ (Andrea Pozzo and his Time) that took place in Trento at the end of November 1992 (2). In this last volume there is also an important contribution made by master De Luca. Very much, so, has been said, but I do not think the subject has been exhausted. On the contrary, as it often happens in scientific research, more in-depth knowledge reveals new mysteries and it opens new questions. In particular, the authoritative studies that I cited and others, that I do not have the opportunity to mention here, do not at all seem to consider the problem of perspective construction in fresco paintings. This is quite surprising, because in the construction of this involving perspective is contained the secret of the illusionistic magic of this work of art and, at the same time, the secret of the geometrical knowledge of Andrea Pozzo and of his time.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.