jodi o'toole - mastery about andrea pozzo.pdf

8/21/2019 Jodi O'Toole - Mastery about Andrea Pozzo.pdf

http://slidepdf.com/reader/full/jodi-otoole-mastery-about-andrea-pozzopdf 1/131

ANDREA

POZZO

THE JOlNlNG OF TRUTH AND ILLUSION

Jodi

L.

OIToole

History

and

Theory Program

School of

Architecture

McGiI

University Montréal

December

1999

A

th sis submitted to the Faculty of Graduate Studies and

Research in partial fulfillment

of

the requirernents of the

degree

of Master of

Architecture.

Q

Jodi OIToole

1999



uisitions

and

s

Acquisitions

et

Bib

ographic

Services

serviees

bibliographiques

he

author

has granted a non-

exclusive licence allowing the

National Li brary of

Canada

to

reproduce,

loan

distribute or

selî

copies of this thesis in mimform,

paper or electronicformats.

The author retains ownership of the

copyright in this thesis. Neither the

thesis nor substantial extracts

fiom

it

m ybe printed or

othenivise

reproduced without

the

anthor s

L auteur

accordé

une

Licence

non

exclusive permettant a la

Bfihottièquenationale du Canada de

reproduire,

prêter,

distribuer ou

vendre es copies de cette

thèse

sous

onne de microficheffilm,

de

reproduction su papier ou sur format

électronique.

L auteur

conserve la propriété du

droit

d auteur

qui

protège cette

thése

Ni l thése ni des

extraits

substantiels

de

ceiie ci

ne

doivent

être imprimés

ou autrement reproduits sans son

permission. autorisation



or

ames



BSTR CT

Andrea Pouo was an architect, writer and painter spanning

the Iate seventeenth

nd

eariy eighteenth centuries. The

focus of this study is on his paintings of perspectival illusions

and his treatise on perspective entitled,

erspectiva

pictorum etarchitectorumpublished n two volumes in 1693

and 1700. This thesis seeks to understand the work of

Pouo in light of contemporary philosophical debate over

the deception of the senses and their ability to distinguish

truth from illusion. Pozzo's intentions are examined through

a

study of the positions of René Descartes, Galileo Galilei

and other related artists and architects on the technical and

ethical issues surrounding the deceptive nature of

perspective illusions.

Andrea Pouo était un architecte, écrivain et peintre dont

I'oeuvre s'étend de la fin du dix-septième siècle j'usqu'au

début du dix-huitème siècle. L'intérêt de cette étude est

centré sur ses peintures d'illusions perspectives et sur son

traite sur la perspective intitulé Perspectiva pictonim et

architectorum publie en deux volumes en

1693

et 1700.

Cette

thèse

cherche a comprendre l'oeuvre de P o u o en

tenant compte du débat philosophiquecontemporain contre

la déception des senses et leur abilité de distinguer la vérité

de l'illusion. Les intentions de Po n o sont ic i examinées

travers une étude des positions

de

René Descartes, Galileo

Galilei et autres artistes et architectes apparentés sur les

points de vue technique et éthique entourant la nature

déceptive d'illusions perspectives.



ACKNOWLEDGMENTS

For his inspiring ecture given at Penn State UniversRy which

led me to follow my instincts to study in Montréal, Alberto

Pétez-Gomez desenies an unending amount of thanks. He

has been a truly great professor whose program has

fostered an atmosphere of discovery creating

a

community

of individuels who aspire to understand architecture through

a

search for possibiIities of what coutd

exist

in

the

world.

To recognize a teacher. Katsuhiko Muramoto with careful

consideration gives of himself to nudge his students toward

their own understanding of their work and its relationship to

the history

of

making. I and so many others, have been

inspiredby him.

A

special thanks to Louise Pelletier and Greg Caicco for

offering their valuable insights into Our work throughout the

course of the program both in historical research and in

making. Also in the productive

review

sessions attended

by

Marco Frascari, Stephen Parcell, Dan Hoffman and Indra

Kagis McEwan,

my

thoughts were ignited with their

energies. To NatalieBérubé w o

has

been a wonderful

support throughout the writing of mis thesis and in the finai

hours also provided desperate translation s e ~ ~ c e s ,would

Iike to

say

congratulations.

Don Kunze,

am

proud to Say, provided the initial

spark

and basis

of

education which prepared me for the journey

in

Montréat.

Equally

s

mportant

was

an

Willis patience

and the relentless push. he Penn State Rome



piograrn,founded through the hard work of Romolo

Martemucci, igniteda bve or the city of Rome still pursued

in this thesis.

During

times spent

in

Rome, was also able

to witness the thorough care given to the study of a place

by James Kalsbeek.

Judith Harris Ajelto

and

her family

have

a beautiful

importance to this thesis exposing me to much of Rome

and many of the small towns in which some of

Pozzo s

works are situated. he view from her window overlooked

the Collegio

Romano

and where the dome of the church

of

St. lgnatius would have towered if it were not an illusion.

For long hours

of

work, she allowed me sit at that rnagical

window and dream of these

words I

thank her from the

bottom of

my

heart.

would like to

thank

the Jesuits at the Biblioteca della

Pontificia Universita Gregoriana for allowingm access to

their precious archives. AIso, carry a necessary

appreciation of the facilities of the Iibrariesof the Biblioteca

nazionale

di

Firenze and Kunsthistorisches Institutes in

Florence for invaluable research into Galileo s connection

to the arts and conternporary artists. The BibIiotecsi

dell

Pontificia Universita Gregoriana, McGill University s

Blackader-Lautermann,and Mclennan-RedpathLibraries,

also McGill University s Mossman collection

at the

PhysicaI

Sciences and Engineering Library,

the

library archives of

the

CCA,

and Wesleyan University Library al1 provided

access

to th manuscriptsand texts

on this

su ject incfuding



several different printings and translations of Pozzo s

treatise. These resources presented an intimate knowfedge

of the architectural treatises on perspective relevant to

this

thesis and materials

o

the surrounding debates. must

not forget to acknowledge the tuition deferment and

scholarship provided by Mc ili University.

My most sincere gratitude is reserved for my husband,

James, whose passion for making equals only my love for

him and Our son, Evan.



T BLE OF ONTENTS

ppearance

ndrea Pozzo

Light

Perception

Shadow

Illusion

Point of View

Truth and Falsehood

Machines

Frozen Moment

ppendix

Notes

Bibliography



APPEARANCE

do not possess such a perfect faculty of discrimina-

tion. am more like the monkey who firmly believed

that he saw another monkey in the

mirror..

anddiscov-

ered his error only

after

running behind the glass

sev-

eral times should iike to know the visual differences

by which he

[his

adversaryl so readily distinguishes the

real from the spur i~us .~

The

invention of the telescope in the beginning of the sev-

enteenth century called into question, among other things,

the presence of what is seen. In architecture, the disparity

of what is and what is seen had been understood as the

need for optical correction since the Renaissance discov-

ery

of De architectura

written

down

by Vitruvius sometime

prior

to 27 B C As a distinction from linear perspective

called

perspectiva artificialis

this

primitive forrn of perspec-

tive is known as

pespectiva naturaiis.

Recognizing the

inherent visual distortions in the perception of form, build-

ing members had to be adjusted to appear in ideal propor-

tion.

Renaissance artists reexamined the visual worid interpret-

ing, expanding and eventually disernbodying

perspectiva

natmlis. During the eariy fifteenth century, there was an

influxof geometrical manuscripts from Byzantium mention-

ing

the

art

of

perspective brought to Florence by Manuel

Chrisotara nd Angolo da Scatperia. These books con-

tained images of geometric shapes drawn in perspective

with central projection pointsandfinite distancepoints. Latin

M-O

fnm

1 4 2 6 .

translations were completed between

141

0 1

41

5.

This cir-

Church of

Sto

aria

No

vela F I ~ W ~ C ~

W.

cumstance

rnay

explain the proliferation of works in per-



spective in this particular region of Italy2 Although

early attempts at Iinear perspective were not yet

the codified perspective of the Scientific Revolu-

tion, these representations marked

a

moment

in

the field of inquiry which was turning toward

lin

ear perspective and a changing world view pos-

tulated in a scientific representation of a space.

By

161

0,

the date of publication of Galiteo's short

treatise on the moon and the satellites of Jupiter,

entitled

Sidereas nuncius

the publication of nu-

merous treatises on techniques and theories

of

perspective drawing resulted

in

a change in the

conception of space from

a

heterogenous qual-

S t u o f m a ~ e d ~ i n r o n

ity to a systematized, mathematical space inwhich vision

a head pmiected n10 hori-

zontaisecoonsfromPiem

was

reduced to the rules of linear perspective. Galileo

della Francesca. De

Prospeciiva

pingendi c.

rnid

1400.

Galiiei made

use

of the analytical tools of visual represen-

tation to understand the new science

of

what was seen

through his telescope.

A

direct relationship behrveen 'seeing and knowing' as un-

derstood by Anstotelians was rejected

y

Galileo in favor

of demonstrable experiments based in a rational explana-

___ __

tion of what isobserved inNature. Galileo

presented a direct challenge to the Scho-

lastic tradiiion in his conclusions on

the

nature of the moon

in

Sidereas nuncrus

In virt0 di pro~ pettiva, ~alileo demon-

Galilea Galiiei Sidereas

nunaus

1610

strated that the shadows on the surface



Galileo

Galilei.

Sidereas

nunuus f

6

0.

of the moon appeared to be deep craters in contradiction

to the prevalent Scholastic representation of the moon as a

metaphor for purityS

The positivistic quest initiated

by

the Scientific Revolution

sought to reduce al1 phenomena to a few al1 encompass-

Frantispiece of

Les dix

livres d architectvre

de

Vitruve, trans. Claude

Perrault,

Paris: Jean

Baptiste

Coignard.

1673).

h g rational tniths. Reason replaced metaphor

as an explanation for phenomena found in the

physicai worid.

In

both the arts and the sciences

popular debate concentrated on the distinction

between

truth and iIl ~ s io n .~ deception of the

senses approached the ethical question of the

ability of the intellect to distinguish truth in the

physical world. Even

in

perspective theory this

question was debatable. While many believed

that optical correction was necessary Claude

Perrault posited in his Ordonnance des

cinq

espéces

de colonnes

la méthode

des

Anciens in 1683 that

the eye itself could adjust for perspectivaldistortions of form.

Dunng this time, the arts and the sciences were intene-

Iated n their drive to detem ine

the

rules for visual percep-

tion

in

order to understand the fundamental

laws

govem-

ing the physical world

Inthe sixteenth and seventeenth centuries many scholars

were members of several of

the

established Academies both

for scientific and for artistic pursuits. Galileo was elected

to the

Accademia

dei

disegno

in Florence in October of

6 3

nd

was akeady a

member

of

the Amdernia

dei



Linceiin R ~ r n e . ~he

Accademia

del

disegno

was founded

,

byGiorgio Vasari in 1562 to function as an association of

intellectuals.

In an

effort to cultivate

a

higher social status

for artists, the

Accademja

del

disegno

was established as

.

...

a center for the pursuit of knowledge in drawing through

/'=-.,.

,.

the essential disciplines of composition, anatomy and per-

I I I i

r

,

<>-+-x:i:

'-5

spective?

At

the prompting of his former teacher of math-

+*

-

ematics, Ostilio Ricci da Fermo, Galileo had applied for the

y T 6

,

'.

position at the

Accademia del disegno

of mathematician o

teach Euclidean geometry and perspective in 1598.9 Dur-

ing his studies in 1584, it was Ricci who had diverted Galileo

from rnedicine to mathematics, particularly oward problems

dealing with measurement.1° Although Galileo did not re-

ceive the position at the

Accademia,

he taught optics

pri-

. vately in 1601.

K

]

In the middle of the sixteenth century, ltalian mathemati-

cians sought a true Euciid from among the many transla-

tions of translations then c irc~la ting . ~Many treatises on

perspective were based on the copies of Euclid s Optics

The four above figures

that were available either conveniently abbreviated or mis-

may be found in Euclid,

The ThirteenBaoksoflha

translated. In 1573, Egnatio Danti published an annotated

Uements, v.

3.

trans. Sir

n o m a s

L

Heath, New version of Euclid s Opticswhich then became the standard

York: Dover Publications.

i n ~ .

9~61p. 490.481.

used by artists and authors of perspective treatises.13

487

and

361

espec-

üvely.

Perspectivewas being redefined and noted for

ts

geometri-

ca l purposes. The scientific applications of systematizing

vision in the interpretation of observations of Nature b e

came increasingly apparent in the new science.

As

these



purposes evolved, Iinear perspective, what was

to become projective geometry, began to split

from its artistic ends marked by the perspective

treatises written by Guidobaldo del Monte,

Cornmandino and BenedettLT4

y

the end of the seventeenth century, perspec-

tive treatises mathematically positioned the ob-

GuidobaldodelMonte

Pesped vae

libn

SW

(Pesaro, 160).

server within a section through the cone of vision. Space

was

conceived as a homogenous system in which vision

was

subject to mathematical laws. Although there were a

few tendencies to represent the viewer within this diagram

using only an eyeball, the as yet embodied viewer was

placed within

a

geornetrized, homogeneous space.

Descartes describes a sirnilar understanding of space

in

his Discourse on Method,

part

four:

?

Faderigo Cornmandino, Ptolomaei

I took the subject-matter of geornetry, which

I

conceived

plaf1 pha8ri~t?1,Venice, 1558).

to be a continuous body or a space indefinitely extended

in

length, breadth, and height or depth, divisible into

distinct parts, which

may

have distinct shapes and sizes

and may be moved or transposed

in

al1

sorts of ways.

15

The mathematical space of the infinite universe and the

positioning of an ernbodied observer allowed for the re-

centering of man within a system of rneaning. Baroque

perspectival illusions sought to recreate the center of the

universe within unifom i space.

iovanni Battista Benedetti. For Descartes, illusions were

a

sensua[ obstacle to the

lvenarurn speculationum

~ t h e ~ ~ ~ m

..

~ a ~ n o .

m

pursuit of tnN\; the separating of the

true

from the false



occupied the main intellectual problems of the seventeenth

century.I6 As Alexandre Koyré explained, Descartes quest

to determine truth from falsehood was fought in an effort to

judge the world pr~periy. ~n his own words, Descartes

phrases t as folIows:

And always had an extreme desire to learn to distin-

guish truth from falsehood in order to have a clear in-

sight into y actions and proceed in this life with assur-

anceY

While Descarteswas opposed to illusion in its many forms,

perspective treatises by the end of the seventeenth cen-

tury included the creation of fantastic illusions on any vari-

Jean

François

N i i m n .

La

perspective curieuse

1663 and

below.

and the

following

page, Nichmn s

frexo in a h llw y in aie

convent

of Trinita

dei

Monti, (Rome,

1642 .

ety of surfaces. Anamorphic illu-

sions were reconstituted on the

rnirrored surfaces of cones, cylin-

ders, and spheres. Even in the

convent of Trinita dei Monti in

Rome, Emmanuel Maignan with

the assistence of Jean François

Niceron produced wo anamorphic

images along the walls of narrow

corridors. One of the paintings was

destroyed in an uprising shortly af-

ter the French Revolution. The re-

maining llusion, when viewed fron-

tally, isa representation of the land-

scape of the straits of Messina in

Calabria. When viewed from a

point with one s cheek positioned



against the corridor walI the hid-

den image of S. Francesco di Paolo

sitting under a tree lifts away from

the scene of his homeland.

Galileo remarked in correspon-

dence with painter Ludovico Cigoli

that although he favored perspec-

tive in painting he felt that anamor-

phic projections were not appropriate to fool the eye in such

a way.Ig He felt that painting was superior even to scuip-

ture since using a perspectival understanding of the cast-

ing of shadows and shades the painter could render a

sculpted surface to appear perfectly flat.

But

it was an-

amorphic projections which contained a severe form of a

deception of the senses which threatened his scientific sen-

sibilities.



ANDREA POZZO

The Art of Perspective does, with wonderful Pleasure,

deceive the Eye, that most subtle of our outward Senses;

and is very necessary to be known of all, who in Paint-

ing would give due Place and Proportion to their Fig-

ures, and more or less Strength requisite to the Lights

and Shades of the Picture?O

Andrea P o u o wrote the above quotation in the section

entitled TO he Lovers of Perspectiveu n Volume One of

Andrea Pono, Self por

trait. Umzi

G a w 1 lo-

Perspectivapictorum et architectorum 1

693

The purpose

rence. Italy.

of his treatise was to enable the artist nd architect to cre-

.

ate perspectives and perspectival

illusions for stage set

panels

and

for the decoration of irregular sur-

/

.

. <

.

.

.. .. ; ; f faces. To this end, Pozzo himself

. .

*.

painted llusions

of

human and ani-

,

*

..

y , mal

figures,

architectural designs

and heavenly scenes in churches

al1 over northem and central ltaly

and the environs of Vienna.

Andrea P o u o was bom on

30No-

vember 1642 in Trento, ltaly dur-

ing the feast of his namesake, St.

--

Andrea.21 While as a young man

Andrea Pozzo.

Perspectiva piciotum

et

Iistening to

a

sermon delivered by

architectONmvv-

aJesuitpriest,he was inspired o join the

Society

of JesuslP

and 91. London: John

James. 707

P on o was a lay brother in Milan for ten years until, in 1665,

he was called to the Piedmontese novitiate of Genoa. A

possible first attribution to his stage set illusions exists in

the church of S. Fedele in Genoa, a macchina for the ce[-



ebration of S. Francesco Borgia." It was at this time that

P ouo immersed himself in the study of perspective. Later

that same year, he was called to Rome by Gian Paolo Oliva,

General of the Society of Jesus, to cultivate his artistry.

Oliva died before Pozzo's anival witiiout leaving specific

instructions for his position with his Roman brothers. There-

fore, as with al1 Jesuit novices, P o u o was put to wotk in

the kitchen for a period of five months to learn obedience

Andrea

Pono,

CaMira

di

Cristo (above) and

Fiagellazione di Cristom

(below),

in

th collection

of Silvio Borla. Trino

Venellese, Itaiy.

and h~ m ility.2~

The eventual cultivation of Pozzo's

talents in the Society of Jesus pro-

duced a prolific painter, architect

and writer. Pouo's early

works

on

canvas primarily included popular

Jesuit Biblical scenes.

or

the

most part, these canvases

deco-

rated Jesuit churches throughout

northern and central Italy. The sub-

ject matter of each canvas de-

manded scenes immersed in dark-

ness with controlled ligiiting,

oftén

by candte light or torch. Some of

his titles include:

flight from

Egypt

the lmmaculate Conception the

adoration of the Shephards the

Last

Supper

the flagellation of

Christ

the

ru ifiion

of

Chnst

and

episodes in

the

ives of

esuit



saints, especially their martyrdam. Although it has not been

documented whether P o u o received instruction from a

master painter or architect, he certainly

was

surrounded by

excellent examples of both fields. Witfiin his own order in

Rome, P ouo became intimate with

the works

of Vignola

and Bernini. In fact they are mentioned in Volume

One

of

his treatise along with Palladio and Scamoui as excellent

examples of proportion

in

architecture. In Volume One of

Perspectivapictorum et architectonrm, ouo writes:

---

-

- -

Perspective never appears more

. --

-

-. .

graceful than in Architecture; for which

Reason

I

present you with that of

; Y

.,

. James

Ba r n i

from his country gen-

- -

*A

. -

1 t

-

-

erally call d Vignola; which perhaps is

-

.

more in use than any other; and

con-

tains the Geornetrical Upright of each

of the five Orders..?

A

Besides Vignola, Pa lladio and

sc rnozzihave also written excellenüy

well of the Orders of Architecture; and

each of lem have deservedly their Fot-

lowers and Admirers. That you might

therefore be enabl d ?Omake Designs

in Perspective, after the Proportions of

the

most celebrated Masters,

I have

in this Plate given you the Measures

of al1 the Orders, as deliver d by thern

in their Books.26

The bme tw mages and the fi

imageonthe idowingpage

are

~ i g -

The wreath d Columns described in the Fi@-second

u m 9,

53.

and 52

fespectiuely in

AndreaP ~ e n p e c o ~ aict mm

Figure, being divided into Twenty-four equal Parts, want

etardiiied~nrm.r ns

ahn

~ a n a e ~

very

much of that Elegancy of Contour, which is visible

LondM:

John James. c

1707).

in those brass Pillas, made by the famous Cavalier

Bemino, for

St.

PetefsSepuIcher

in the

Vafian.*



--

.

\

m. . -

lacorno Baro ui da Vignola more than a genera-

tion earlier than Pozzo defined the style of Jesuit

S

churches ail over the world. The facade which

he designed for the church of

II

Gesu in Rome

became the model for al1 subsequent Jesuit

; church designs. Vignola also wrote a treatise

himself on perspective entitled,

Le due regole

Vignola s treatise was published with commen-

:

tary by Egnatio Danti in 1583. Not since the trans-

--

lation of Alberti s

De pictufa

in

1500

had there

S

* / . e

e

.

been the publication of a systematic treatise on

per~pect ive.~anti, who also published the pre-

viously rnentioned annotated version of Euclid s Optics in-

cluded Euclidian illustrations and mathematical explana-

tions to further define Vignola s understanding of optics and

p e ~ p e c t i v e . ~ ~

e

due regole also discussed perspective

Vignola lh facade of ih

applications to various architectural elements. Vignola s

Church of II

Gesu Rome

and below

a

plate from

description of

a

geometrical method of producing a per-

Vignola Le

due regole

1583

spective illustrated the use of a distance point.30 This inno-

vation allowed for

a

rneans to determine the acceleration in

perspective without relying on tempered experience. At

the time of the publication of Pozzo s method for drawing in

perspective, the distance point was already taken for

granted in perspectival constructions.

While Pozzo rnentioned a list of masters from which to learn

the most etegant proportions for the

five

orders of architec-

ture, he did not admit any precedence for his method of

perspective

in

previously published perspectival treatises.



Andrea Pozzo,

Perspectiva pictonrm et

a r c h i t ~ ~ n r m , ~ .f

2.

ing text. Although his commentary in certain instances

trans. John James. (Lon-

don: JO~VI James, ca.

strayed from the description of the figure at hand, he did

1707).

not indulge in igniting cuvent theoretical debate.

Andrea Pozzo.

Peispectiva pictonrm et

architectomm, v- 1. trans

John James. (London:

John James, c a 1707).

P o u o most assuredly must have

studied the works of the past mas-

ters in the Jesuit Iibraries, but his

treatise approached the demon-

stration of perspective through a

quite different attitude. It was much

more straightforward with clear

examples and a basic accompany-

P o u o also stated in the introductory section en-

titled

To

the Lovers of Perspective that there

are only a few Masters and Books to teach them

fstudents of perspective]clearly and methodically

the

Rules

of Perspective-Projections, from the

first PrÏnciples of

the

Art, to the entire Perfection

thereof.Vt was his purpose in this treatise to

show a most basic method to leam the art of

perspective. The image which was paired with

the text in

t is

section illustrated the necessary

items for beginning to draw in perspective: three

books, Wtnivius, Palladio, and Vignola's rules on

the five orders (not h is treatise on perspective),

severai t-squares, a bottle of ink, wells and pens,

a straight edge, two compasses, a few sheets of

paper attached to

n

inclined drawing surface

*exactly

squar'd,'

a

desk and chair. These



Above

is

the adverlise-

ment

for James

transla-

tion of OrdonnancenAn-

dre Pouo.

Perspectim

pi om etarehitedotum

v 1. Kg. 2. trans. John

James. (London: John

James, Ca. 1707). Adja-

cent

ç th iUe

page

10 ie

publication advertised

above printed by Ben-

@min Motte,

lm

items together

with a careful un-

derstanding of ar-

chitectural draw-

ing in plan, sec-

tion, and eleva-

tion of the five or-

ders of architec-

ture are the nec-

essary prepara-

tion to learn to

draw objects in

p e r s p e c t i v e .

P o u o does not

mention any other architects or treatises in either volume.

The English translation of Volume One by John James of

Greenwich printed in 1707 includes an advertisement for

James upcoming translation

1 709)

of the Ordonnance by

Claude Perrault; but there is only speculation whether Pozzo

himself was familiar with this work. Although it is not docu-

mented, a connection could have been made through ei-

ther of two visitors to Paris who were in contact with the

Jesuits in Rome after their travels. The first was Gian

Lorenzo Bernini who was invited to design acade for the

Louvre but not given the commission. The facade which

stands today was eventually to be attributed to Perrault.

Bern ini was in the hosp itality of Perrault s adversary,

François Blondel, and may therefore have been privy to



Andrea Pozzo, False

cu-

Dola above). Church

of

St.

Ignatius, Rome.

Orazio Grassi. facade and

interior of the

hurch

of

S t

lgnatius below), Rome.

the controversy surrounding Perrault's perspec-

tive t re ati~e.~ ' eibniz was also in the Company

of Perrault in

1689

and then proceeded to travel

to Rome lodging with

the

Jesuits while there. Dur-

ing that time, P o u o was painting the dome of

the church

of

St. Ignatius, four years prior to the

publication of

Perspectiva pictorum et

architector~m.~~

n the

Ordonnance

Perrault also

attempted, as Pozzo, to have an approach which would be

easy for architects to learn, memorize and apply regard-

less of talent.

WhiIe some of his early canvases dealt with perspectival

spaces on a small scale, Pozzo began to paint

quadrature

perspectival illusions on the irregular walls nd ceiling sur-

faces in churches throughout northern and central Italy.

From 16764680, Pozzo travelled between Torino, Milan

and Como to complete a number of works both temporary

and permanent. He settled in Rome to paint his most cel-

ebrated masterpieces

from

1681-1702.34

These included the

nave, dome and altar of

the church of

St.

Ignatius, the hallway t

the

rooms of St. Ignatius

in the Casa professa, the

cappella delia

Vigna

and the convent of



Trinita dei Monti, the location of Maignan s an-

amorphic projection mentioned earlier. While in

Rome, Pozzo also painted several canvases and

the illusionistic side chapels, altar and dome for

the church of II Gesu in Frascati including

a

por-

trait of himself to the far right in the altar scene.

In

1702,

Kaiser Leopold called P ou o from

Rome to Vienna. As he travelled for two years,

P ono made many more perspectival llusions n

churches and palaui in Florence, Trento and

Montep~lciano.~~n Belluno, he designed

th architecture for the Jesuit ~ o l l e g e . ~ ~

Pouo spent the final years of his tife

in

Vienna designing the illusions in

the

Universitatskirche, Franziskanerkirche

and in the palazzo Liechtestein which

Andrea POZZO sida

W

heavily influenced he pain ter^ of the cen-

Chruch of

SI

Ignatius

Rome

tral European Rococo. Pozzo died in Vienna in 1709 =

In addition to the college of Belluno, P ono witnessed the

construction of his architectural designs in Ragusa, Lubiana,

Trieste, Montepulciano and T r e n t ~ . ~ ~rom his numerous

designs for altars, he executed the elaborate altarconstruc-

tions for both the churches of St. lgnatius and Gesu in

Rome.

Prior to the publication of his perspective treatise, Pono

wrote a short book documenting

th

life of St. Aloysius

Gonzaga, entitled La uza

vita

in 1679



Andrea

Pozzo wrote his treatise on perspective n two vol-

umes both en itled Peispectivapictorum

et

architecfonrm

The

first volume became the most widely published and

transiated treatise on perspective written to date in

1693.

It contained his

method for the cre-

ation of perspective

drawings and paint-

ings from the plan,

section and elevation

of objects and

spaces. The format

consisted of

a

textual

description accom-

panying each figure,

one hundred figures

in total. The text was written in both

Latin and an adjacent ltalian ver-

sion. Volume two followed the

same format for the most part and

had 118 images; but there were

several instances of a series of

images which were without t e ~ t , ~ ~

(above

left and lawer)An-

drea Pozzo,

Main

aitar

Published in the year 1700 the second volume includeda

and detail. Church of II

Gesii. Frascati, Itaiy.

reftnement of Pozzo s method iollowed

by

a compendium

(above right) Andrea

Pozzo.

Allare

dipinto

in

of his designs for fancifui, proposed and built proje~ ts.Pre-

Frascati. Pecàpectiva

~ i c i o l v r n e t ~ i ~ ~ m

sumably for this reason, it had been less translated than

v 2.

Volume

One

and of

a

limited distribution.



While volume one began with a description of the tools

necessary to create a drawing in perspective, an allegori-

cal image introduced the reader to volume two. The image

was of a perspectival section illustrating a scene of Minerva

and a draughtsman before a symmetrical Doric niche con-

taining

a

weil with ropes and a pulley. The draughtsman is

drinking from a vesse1 offered by Minerva, goddess

of

memory. Her decorated shield and spear are on the ground

as are his drawing tools and blank paper. The draughtsman

or painter appears to require a moment to drink from the

waters offered by Memory to proceed in his work. The ac-

companying text is reproduced as follows:

AL LETTORE.

Finalmente mantego la promessa con mandar alla luce

la Seconda Parte della Prospettiva, sperando, che

s r

rhcevuta con non minor gradimento della Prima, tant0

pic perché in questa spiegasi (per quanto puo farsi con

la voce morta) la piu facile, e spiedita regola di quante

possino darsi in quest'Arte della Prospeük

Per

questo

mi o a

r; che

chiunque

s

alquant0

esetùtafo

neiie

regde lkPnma

PaRe,sdtanto,chechekpninefiguredi

questa

seam I

non mi

brsogno

daltroI

a t h

tutte

ne1

mecfesi i

m lb

faite, e postee Que& dunque

é quella

regoilafacrTl~~l~ma,

h e p e r k ~ s m ' ~ ~ a d p e r a nn 'm

nelrgoere, the ho fatte r

h

pru omsb i jl Rma ed

albcove, e 'ho ihsegna I j lbneve tempo, em p m ~ a n a h ei

m d t i d ~ i n g e g n o -

enaope~Scfiemdtepel~~ne,

amrché clbtte ~albisu.bnze, niwanivriioad mte-

né

p ab,

acagKKietWkrbro i ine lP edGmmt&

e

dAfchfieîtuura

c h e p r e s u - g k i

notea

chisiponea

sWb

essenab

questa perappunto

la

m a W 1 he

compone

tutta

la machhaI e

sost nm

aWI opere

fatte



proseptava; maperchd questo un punto

on

inkordarlbperihuWm,

O

apposlatamenfe n ltre

spiegaaoni di questo Libro. Questa dunque é impresa

de'fWort eûArchitem; a' quali

é

indrinata queSfcqDem,

clhe

per

esemizb Che hanno nel

difegn

/ l e

cy~a Arti

averanno superato

k

magghr

oWbItad

guesto

m

i

mata@lb

pero

d a n i Tttud

chep e r m

W r a

ad

impararqu Me,

k

ks~abno

a W o nutib per

le

figure. Mhs'rngannano

mdto

mpotfm aWsimo ndte

per

queste: né

M

asc te

pet6

a g g m / l e

ru

M e ,

e

non volete ancor w m m m

h

quelli e d w le

nellopem

h

on senza riso, si mirano. Epure

1

Pittori

senza accorgersene non altro sanno col loro dipingere,

che una colorita prospettiva, ancorché sia

composta

di

figure umane,

perd

conviene ad essi osseder bene que-

sta regole, specialmente

a

guelli, che hanno occasione

di far opere grandi, mostrando il loro sapere ne1

digradare, e collocare le figure ne'piani, ne1 dar forza, O

debolena all'ombre, ed a' colori, a particolamente per

nobilitar I'opere loro con belle composizioni di

architetture, altrimenti non solo non saperanno far

queste, ma non petranno far cosa grata a persone

intelligenti ne ancor ne110 scorcio di una figura. Dovete

per tanto sfotzarvi di ben penetrare

la

forza di pe sta

regola nelle prime lezioni, nelle quali abbiamo gettati 1

fondamenti delle piri brieve,

che

non si sia posta al

pnncipo, sappiate che cio é stato fatto appostatamente,

per non replicar piu volte il medesimo,

e

per non

ossuscar la figura,

O

la mente de' Scholari c m moiüplkiti

di linee, e di parole. Chesepoi bramate approsiitawi

in

brieve tempo in guest'arte, non perdete tempo in sole

speculazioni, nné in voltar carte, ma mettete mano al

compasso, a alla riga con operare, e cosi a w e d , che

vi sentirete spronare di passar sempre piu avanti, non

solo per disegnare le figure di questo libro, ma ad

inventame delle migliori, conforme il talento, che

visad

stato communl'cato da Dio, alla cui gloria la vostra, e l

mia qualunque fatica offeriremoPO



n

summary, Po u o was relieved that the second volume

was finally published for the method was even easier to

construct than the first volume. He also made an effort to

Andrea Pozzo. Altare

fatto a Verona (above)

and Altare dipinto nella

chiesa del Collegio

Romano,

Perspectiva

picforum etarchitectutum

v. 2.

record his many works executed in Rome and

elsewhere. He established that this book was

written for the exercise of painters and architects.

f

the reader had followed Volume One, he or

she may understand the method in Volume Two

in the first several figures. P o u o made them

purposefully not to repeat information in as few

words and Iines as possible attempting not ob-

scure neither the figures themselves nor the mind.

In Volume Two Figure four, he recorded what was

apparently his woking adage, above all,

the

wise

need few words. Finally, he encouraged the

reader not speculate over the figures but to take

compass in hand and begin to understand

through practice.

Although Volume Two continued to demonstrate

a method for perspective drawing, it also con-

tained perspectival images of many more of

Pozzo s

architectural designs. This volume be-

gan with

a

more difficult figure than the first vol-

ume, a four columned symmetrical archway. In

Figure four, there was a demonstration of the

section through the cone of vision usinga man

looking at four freestanding pilasters in space.

In the text, P o u o elucidates this method of de-



riving perspective. He describes two eyes, one at your eye

level and one at your feet. The first would show the corre-

spondences between the heights or elevations to the sec-

tion through

the

cone of vision. The second would show

the correspondences of the plan to the section through the

cone of vision. Figure ive illustrated these correspondences

using the four pilasters. This image was followed by dem-

onstrations of the correspondence between elevation, plan

and perspective drawings using strings to associate the co-

incidence of points. Figure eleven was

a

simple diagram

of

a

square listing the rules to construct this type of per-

spective and insuring that they are easy to follow and study

as a reference. The rules presented the direct measure-

ments and system of correspondences to perfom and un-

derstand perspective with

a

minimum of drawing.

P ono continued with more difficult images, pieces

of architecture, pedestals, doorways, bases, tilted

objects, capitals, pediments and ruins. Pozzo even

reproduced images from his first volume furthering

describing the construction of the faise dome of the

church of

St.

Ignatius.

Pozzo

created more designs for altars, some

which

had

been

or would be constructed and others for

the s ke

of textua l debate such as the Altare

capriccioso. This

lt r

in particular possessed some

ndrea POUO.

fanciful elements. The supporting columns followed

Perspeaiva pictonim

et

a r ~ h i t e c t ~ ~ ~

a

curving line creating a bulge near the base. In the



esigns

for the

facade of

th

church

o San

text P o u o explained that the ar-

chitect should be allowed to explore

his or her imagination without be-

ing bound to traditional rules of

form making.

Three designs for the facade of San

Giovanni in Laterano are com-

aovanni

n

in

posed as three buildings in a single drawing: one frontal

Andrea Pozzo

Perspective

pi tomrn et

architeaorum V

2.

and two facing each other flanking the first. Although P ouo

did not get the commission for the project he also included

a

rendered plan section and elevation of each design.

The first volume of

Perspectiva pictorum

et

architectorum

was not bound to the second. They existed independently

which fortunately allowed the first volume to be translated

and extensively published throughout the world. The Je-

suits even translated a copy into Chinese by 1737for dis-

tribution in AsiaY

The original texts of both Volumes One and Two were pub-

lished by Giovanni Giacomo Komarek in Rome in 1693 and

1700 respectively. Komarek also published two transla-

tions of the first volume: an Ita lianl German version and an

Italianf French version both in 1700. Another German trans-

lation paired with the original Latin text of volume one was

published in Vienna in 17 6 by Jeanne Boxbarth and

Conrado Bodenter. The Latin/ English translation already

mentioned was published by John James of Greenwich in



London in 1707with engravings reproduced by James Sturt,

And finally Giuseppe Castiglione (Pechino) published

a

translation into French and Flemish in Brussels

in

1708 4

The number and rapidity of there translations testifies to

the success and popularity of Volume One of Pono's trea-

tise.

While the considerable influence of the Jesuit missionary

Andrea

brotherfood had a great deal of influence in this phenom-

erspectiva

prctonim et

architectorum.v. 1. fig.

30

and

62. respectively.

enon, the unprecedented success of this perspective trea-

.-, 7

tise over al1 others has

also

been

18

.,, Y .

5

z ... : +

,-..

- .

. -

-

attributed to the ease with which

this method may

be

followed and

i

learned which was precisely

Pozzo's intention. At the very

least

--.-.

1 t

the English translation went even

e.:

.,

further to present a straightfoward

.

-

.

- -

-- .

task to be accomplished by mak

r;ic LU 6

ing the translation of less sugges-

:

, -

I

I

tive vocabulary than the onginal text.

I

C

John

James

was a member of a "tripte partrier-

ship' with Hawksmoor and Sir Christophet Wren

in the Office of Works.

According to Joseph

Rykwert, their approbation of Pozzo's text is"rather

*

+--

1 : - . 2

I

in he style of the Venetian censor's 'Imprimatur'."~

James had altered the rneaning of passages in

i

several instances aliowing for

a

less potent ver-

: -.<- ,

_ - - -

l

I -.,

...

. .-

i

sion of the original. The most poignant example



AndreaPono.detail illus-

lraling

Vie

line between

the existing architecture

and i ainting Church

of

II

Gesu. Frascati

ltaly.

is in the translation of the subtitle

to Figure Thirty. The original Latin

text reads,

Optica projectio a d ifc i

IONICI; u i de modo

ugendi ficium

cum vero.

James translated the

section as follows,

An

IONICK

Work in Perspective; with

the

Man-

ner of reconciling

the

fictitious to

the

solid Architecture. While that is one interpretation of what

Pozzo may have

meant,

Pozzo uses the phrase

edifica

solida

to signify 'solid architecture' in the Sixty-second

Fig-

ure.

Another translation reveals

a

broadei sense to this pas-

sage. The original Latin may be translated as 'the rnanner

of joining the fictitious to the reaV true.' This understanding

of Pozzo's text embodies the contemporary debate over

the distinction between illusion and truth. Considering

Pozzo's position within the Jesuit order in Rome, it is more

likely than not that he would allude to these controversiaI

debates. This quotation takes on particular importance in

conjunction with his numerous executions of his perspec-

tive method. The subtlety of ioining tnith and illusion was

actually accomplishedby Pozzo in Jesuit churches al1 over

Italy.



The centre of the eye is

the

centre of the crystailine

humour?

tiUe page of

Gaiileo Galilei,

S IEMS

nuncius,

1610.

Prior to the publication of

Sidereas nuncius

by

Galileo in 1610, the constitution of the moonhad

been the subject of many theories Iinking the

material

of

the moon to a cornplex world view of

that period.

The

apparently irregular nature of

its surface then had to be reconciled with the

image of the heavenly spheres

as perfects

orbs.

In

e

Ca b Aristotle discussed the moon as a

flawless and, therefore, reflective surface. What

was seen to have been discolourations ta the

naked eye were thought to be reflections of the

In Leonardo

da

Vinci s notebooks circa 151

0

e sketched

the surface of moon as highly irregular? These dtawings

did not atternpt to represent a perfect it le

and

were pokeâ

and rnaned in such a

way

as to resernble

the features of

a

portrait. His

images

were

in contradiction ta the prevalent metaphor

inwhich the moon was

a

symbol of absolute

Leonardo da Vinci

purity.

AS

pUfe as the mOOnlWaS the

drawings

of fh

moon, ca.

1510 traced by th

metaphor

mat the

Roman Cathdic church had been using

author from Steven F.

Ostrow.

Cigoii s

as a representative

analogy

for

the

lmmaculate

Immacoiata

nd Galileo s

b n

stmnornyand th con~ep t ion .~~

Virgin

in

the Early

Seiwnto

Rome. The rt

Bulletrii

78.2

1

996). pp.

218-23.5.

In

atternpting ta explain

the rnoon s

spots while maintaining



its smoothness, other theories were developed in addition

to Aristotle s reflective orb. The moon was thought to be

translucent with different interna1 densities. Francis Bacon

even suggested that the moon was composed of vapor

plr

seeming to have darker areas like that of c l o u d ~ . ~

All of these theories were dashed with the publication

of

Galileo s findings through the telescope in 6 0. Galileo

was to demonstrate with scientificclarity hat the moon was

a satellite much like the Earth with craters and mountains

across its surface.

Galileo made some of the most brilliant discovenes of his

time and was the father of modem science, but he was

actually not an avid experimentalist. It

w s

his ability to

look at Nature with fresh eyes which gave hirn an insight

into the mathematical basis of the w ~ r ld . ~

t

The ancient Aristotelian cosmogony had divided the laws

goveming celestial and sublunar world hierarchies. The

Earth was a unique creation unto itself, while

the

heavens

reflected the perfection of spirituaf world order. Galiteo,

on the other hand, believed with the modem scientists in

the oneness of rnatter2O These

views

were

in ctear

Ga'i

Sidems

contradiction to the powerful doctrines taught by the faith

nunc 6 O

of the Roman Catholic Church. For this and other reasons

to

be

mentioned later, Galileo was eventually confined to

his own house in

Arcetri;

but

until

his

trial

1633

he managed

to have many controversial works elude initial censure

by



26

practicing the art of dissimulation, or intellectual

In Sidereas nuncius Galileo presented his knowledge, likely

gained through his relationship with the Accademia del

disegno and with Guidobaldo el Monte, of the way in which

Galileo Galilei moon

sepia

wash in

e

Opemdi

Galileo G M e i

3

(1892).

p 48

Below

Cigoti s

lwo

mugh

sket hes at

the Sun

(16

September

1611

folIOwed

by Galileo s sketch

o

the

Sun 1

Oclaber 1611)

traced

by

the

aulhor).

light shades a smooth surface and the

behavior of light, shade, and shadow.

From this understanding, he concluded

that the moon had a varied surface. His

observations were convincing y m mpiled

in a framework of explanation which

aspired to geometrical

certitude. ^

GGalileo

built upon his awareness of chiaroscuro

lighting conditions and even converted

his

findings into height ca lc ~ la tio ns .~ ~

Galileo transcribed his sketches of the

surface of the moon directly using the

projection from his telescope ont0 paper.

From those sketches, using

a

delicate

sepia wash, Galileo rendered the image

of the moon to match the subtleties seen

through his telescope. The washes were

'painteriy' with roundness ndmass unlike

the flatness of the engravings in Sidereas

nuncius. With at least six layers of wash

to each image, the

wash

provided less

exaggeration than the engravings which

were ultimately to accompany his pnnted

text. Gathered together with these



washes at the Biblioteca nazionale di

Firenze are diagrams of astrological

horoscopes and lunar heights?

3

Also at the Nazionale are the pages of

cigoli s drawings by

correspondence between Ludovico Cardi (called C i g ~ l i ) ~ ~

compas of sunspots to

Galileol

30

June

1612

and Galileo on their discussion

of

the discoveries that the

traced freehand by th

author). two men were making through their telescopes. Solar

renderings in these notes resemble diagrams of

Ludovico Cigoli, ceiiing of

observations rather than accurate images.

he

letters date

Vie

Capella Paulina in

Vie

Church of anta Maria

from the years shortly after the publication of idereas

rnaggiore. Rome.

nuncius. It was Cigoli who convinced Galileo to

publish his works in the popular ltalian dialect

rather than in Latin.56 During this time, Cigoli was

painting the ceiling of the Capella paulina in the

church of Santa Maria maggiore in

Rome (1610

161

2

for the Borghese

Pope,

Paul

V.

In this painting, Cigoli represents the Virgin

characteristically standing atop the moon, her

symbol of purity; but Cigoli's moon was

represented depicting the surface he had seen

through the telescope, with craters and mountain

ridges. Although it is nota precise representation

of Galileo's observations, Cigoli created quite a

controversy which led to the redefinition of what

the 'purity' of the moon meant to

the

Virgin.

Cigoli also wrote his own treatise

on

perspective



entitled,

Perspettiva practica

in 1613. It was never published

and contained a section on the 'Five Orders of Architecture.'

Similar to Galileo's educational background, Cigoii

was

taught mathematics in the Medici court by the same

instructor, Ostilio Flicci.% He apparently had knowledge of

the works on perspective byAlbrecht Dürer, Daniel Barbaro,

Leonatdo da Vinci, and Guidobaldo del Monte?

Cigoli's perspective n the ceiling of the Capella paulina uses

the device of more than one view point similar to the work

of Lomazzo to achieve

a

more lucid

expo~i t ion . ~

his

technique avoided extremes in distortion when

viewed

from

multiple positions throughout a room.

His perspective was, in the end, somewhat

distorted in itself, not creating the proper

diminishment for accurate human proportions.

Galileo was also in close contact with Guidobaldo

del Monte, perspective theorist and

mathematician. Guidobaldo invited Galileo in

Guidobaldo del

Monte

September of

593

to Monte Baroccio near

Perspeclivae libn

rbino

to consult with him on his as yet unpublished treatise

Pesaro 1600

on perspective entitled

Perspectivce

/ibn se^.^ In 1594

Galileo travelled to vis it his wealthy correspondent. They

had been in contact on various interests including visual

science and astronomical pursuits since 1588F

In this time of a shifting worid order, the Jesuit mission

çou ht in both science

and

art to re-center man

within

a



controlled system. This surrogate world order resulted n

geometrized space referring to a mathematical totality. The

placement of man at a specific point within the whole

recreated a center for man with the possibility of meaning

found in the unfolding of the perspective artwork. Within

the system, infinity was understood as the most concrete

expression of the existence of God. Jesuit

propaganda

fide

of the Counter-Reformation bu ilt upon man s

understanding

of

the sensuous and specific to grasp the

religious directives in a universal mathematical world order.

Propaganda fide

was based on a question of convincing

the spectator through the use of the visual image to reach

an understanding

of

religious truth.

The

Jesuit goal for the

Counter-Refornationwas sought through evocative art with

an emphasis

on

the visual in order to reach the

wi est

audience with their message. The extensive rnissionary

endeavors of the Jesuits led them to lands which did not

share a common European language yet the perspectival

image offered a learned geometrical tnith.

Visualization was the method employed to understand one s

inner spiritual faim for the Jesuit brothers. Their work began

through participation in the outline for instruction presented

in the Spiritual xercises written by the founder of the

Society of Jesus,

St

lgnatius of Loyola. The

Spiritual

xercisesare divided into four weeks although each week

may last for more or tess than seven days. Through a

series

of interna1 spiritual milestones, the exercitant progresses



through

a

process of visualization to reach a personal

understanding and compassion with Christ and the martyr

saints.

lgnatius asked each man to contemplate places, events,

and persons using a most concrete sense of the imagination

each day. For exarnple, lgnatius wrote

in

the

piritual

fiercises

The first is a mental image of a place. It should be

noted at this point that when the meditation or

contemplation on

a

visible object, for example,

contemplating Christ Our Lord during His Life on earth,

the image will consist of seeing with the mind s eye the

physicaI place where the object that we wish to

contemplate is present?

lgnatius invoked each sense independently to proceed

through a place and understand

it

intimately within one s

self. lgnatius writes of

this

clearly on hell:

This is a representation of

a

place. Here it will be to see

in the imagination the length, breadth, and depth of hell.

To see in the imagination the great fires, and the souls

enveloped, as

it

were, in bodies of fire.

To hear the wailing, the screaming, cries, nd

blasphemies against Christ Our Lord and al1 His saints.

To

srnell the smoke, the brimstone, the corruption, and

the rottenness.

To taste bitter things, as tears, sadness, and remorse of

the

conscience.

itti

thesense of touch to feel how the flames surround

and bum the seuls.@

This

type

of commentary is typical to open each day with



Andrea Porzo ceiling of

the

nave of the Church of

St Ignatius Rome

above)

nd below)detail

an image to carry through the

introspective exercises which follow.

The Jesuits recognized the power of

the visual image above al1 other

senses. They used its allure as a

tool in their crusade against heretics

in the Counter-Reformation. It was

the task of the Jesuit artist to

persuade the viewers of the glory of

God and the Roman Catholic faith.

The perspectival illusion offered a

possibility of revealing superior truths

in a moment of unfolding.

A

symboiic

space depended on the

representation of the moment of ritual

within the timeless space of

perspective.

For Pozzo the Jesuit mission was

at the center of his work. The narrative

themes which he painted on the walls

and

ceilings of Jesuit churches glorified the

stories of the lives of Christ the Jesuit

martyrs and their founder. lgnatius and

his miracles occupied the central theme

of

his work in Rome.

The

subject painted on the ceiling o the

nave of the church of St. lgnatius n Rome



ndreaPozzo det ilso

th

ceilinga i aie nawe of

theChurctiof

S t

ignatius.

Rome representing

ARW fraca andhia

-b

is presented within the illusion of an open

ceiling ringed

by

columns

and

arches. It

represents the theme of theJesuit mission

itself to spread the word of God given

through lgnatius to the four

orners

of the

worid. Pozzo employed the popular image

of

the

Iight of God

to

trace the

spread

of

his glory While the Sun is at the centerof

this image it represents that one true

point, the Glory of God, where ail points

of the perspective corne togetheP5

Glowing brightly

in

the center of the light

source is Christ bearing he cross. Pozzo

wrote in the caption to this image

(apparently inserted ater intoVolume One

of the 1693printing) that the source 'sends

forth a rayof light into the heart of lgnatius

which is then transrnitted

by

him to the

most distant regions of th four parts of

the ~ o r l d . ~ ~he ray of light terminates in

representations

of

the four continents,

Europe, Asia, Africa, and America,

consisting of a female representation with

supporting male figures and beasts. The

detâiis of this information were sent to

P o n o in letters and sketches from his

missionary brothers around the world.

Also

present, seated in the billowy douds,

are Saints Aloysius Gonzaga, Francis



Andrea P o w detaif o

th

ceitingof the nave o

th

Church of St.

Ignatius.

Rome,

representing th Jesuit

Saints.

as

follows, 1

am

corne to send fire

on the Earth and what will I i

it

be

already kindled,



PERCEPTION

4

Philosophy is written in that vast book which stands

forever open before our eyes

I

mean the universe

but it cannot be read until we have leamt the Ianguage

and become familiar with the characters in which it is

written.

It

is written in mathematical language, and the

characters are triangles, circles and other geometrical

figures, without whose help i t is humanly impossible to

comprehend a single word?

Galileo heralded the birth of the new science with these

words. The secret workings of Nature herself could be

deciphered with a knowledge of Euclidean geometry and

observation through the senses. Galileo was opposed to

the Aristotelian philosophical assumptions based

in

sensual

stimulation related o the physical world. He often illustrated

the fallacies to which

a

dependence on perception alone

can lead. For example, when a feather is held to the nose,

it

is said that

it

tickles the nose; but the feather does not

possess this property? One should not assume that a

sensation is an inherent property to that thing which initiates

the feeling for in fact it may be produced by many factors.

Galileo did not seek to reject Aristotle

but

to offer

a

new

interpretation of the sensible world, different and opposed

to the Scholastic in te rp re ta ti~ n.~lexandre Koyré wrote in

alilean studies that Aristotelian arguments presuppose

that we are able by the perception of the senses

to

directly

grasp physical reality, and that this is in fact the only means

of grasping it and that consequently, a physical theory can

never throw doubt on the phenomena given directly

in

per~eption. ~'0th GalileoandDescartes thoughtthatone



must believe first in order to see the inherent order existing

in Nature. They awarded a certain distrust to the senses

that the Scholastic tradition believed led to proclaimed

truths. Koyré also made evident this position when Galileo

asserts

(a)

that physical

reality

is not given in perception,

but is, on the contrary, grasped by reason; and (b) that

motion does not affect the moving body, which remains

unchanged by any motion which impells it, and that motion

only affects the relations between a moving body and a

stationary

abject.

The new science engendered increased study of the

perception of the physical world including the structure of

the eye and its mechanics. Many perspective treatises

avoided mention of the anatomy of

th

eye altogether.

Those that were interested tumed to the original, ancient

texts on which to base their theories.

Euclid's

Optics

represented the first known record of the

awareness of the distinction between what appears and

what is. His perspective understanding of vision was based

on the angles in a sphen'cal model, rather than a linear

structure. In he controversial Theorem Eightnof the

Opiics

Euclid wrote, Two objects of equal magnitude placed at

unequai distances are

not

seen according to the ratio of

their distances? Because of the

basic

conflict with the

structure of perspectnla afl ficialis,Renaissance ranslations

of Euclid omitted this the0rem,7~

In

extromission theory,

th

cone of vision emerged from th eyes.

Perspecfiva



Andreas Vesalius,

The

illustrations from the

Warks

of

Andreas

Vesalius of

Brussels

New

York: Dover

Publications,

Inc

1950 .

Egnatio

Danti from

Vigola. Le due regole.

Fiame, 1583

naturalis

was meant to mimic the expenence of

vision in a heterogeneous and inexact world. It

was based on a spherical understanding of the

world in which lines were at once converging and

diverging in one scene.

Scholars such as Egnatio

Danti

rejected Euclid s

theory of extromission without mention of the

sphencal quality of vision in conflict with linear

perspective and refuted Vesalius structure of the

lens located in the back part of the eye. Danti

together with many other scholars began to

understand he eye as a passive receptor of Iight

r a y ~ . ? ~t was Felix Platter in the late sixteenth

century who was the first to state that the retina

and the optic nerve were the organs of vision. Also refuting

extromission theory, Giovanni Battista della

Porta

wrote of

the eye as a miniature

camera

obscuracollecting light rays

from objects placed in front of itaT6 ohannes Kepler,

influenced by Platter and della Porta, wrote the first

comprehensive theory of the retinal image in his A d

Vitellionemparal~pomena

n

1604 e

explained t hat when

passing through an aperture rays

of

light

will

project the

shape of the light source rather than the shape of the

aperture-7ï

Danti s diagrams of the structure of the eye influenced such

theorists as Guidobaldo del Monte, Simon Stevin, and

François d A ng ~il on .~~rior to these men, there was little



mention of the structure of the eye itself

in perspective texts except in Kepler's

Leonardo da Vinci,

anarnorphic eye found

in

Martin Kemp.

ni Saence

of Art Optical Themes

irom

Brunelleschi to

Seurat, New Haven.

Connecticut: ale

Giovanni Paolo Lomazzo.

figure

Wdy

forthevauit of

the

hurch

of San Marco.

Milan,

1570

writings and in the anatomical studies of

Leonardo da Vinci.79

Michelangelo was against perspectival construction entirely

claiming that the artist must exercise the compasses in

the eye not mathematical procedures. Lomazzo attempted

to reconcile these words with his profession by explaining

that Michelangelo's experience was so ingrained hat it was

instinct for him to see and draw in perspective. For

Lomazzo, the judgment of the eye and the intellect acted

in complete concert. In he late sixteenth century, Lomauo

still upheld the model of extromission theorye0

By the middle of the seventeenth century, the debate among

theories of vision was taken up by artists, scientists, and

philosophers alike. Abraham Bosse, who compiled

Desargues' work on perspective entit led Maniere

universelle, wrote of the need for geometrical techniques

over the perception of the eye. He was sharply attacked

for these views by Grégoire Huret in

Optique

deportfajcture

et

peinture in 1670 An entire section of his treatise was

dedicated to an anti-Bosse polemic praising the ability of

the eye to properly udge the physical world in order to adjust

for

visual iIlusions.B1

It

is worth mentioning again that Claude Perrault upheld

the position that the eye itself measures and has the



capacity to perceive precision; and therefore, there was no

need for optical correction in architecture, sculpture and

painting.

Guarini rejected extromission theories of the mechanics of

the eye as a Iuminous body which reaches out and touches

objects. For Guarini, the eye was composed of a crystalline

lens which produced a smaller inverted image within the

eye. He referred to this as an unreal image. @

In his

rchitectureCivilepublished in 1737, Guarini admonished

perspective illusions for creating a crisis of surface in

architecture, a disturbing gap between what the eye

perceives and the order of the world? Jeanne Debanné

summarized Guarini s position on perspective painting

as

follows:

O

Guarini objects to over-permissiveness with regards to

j

perspective; that is, the use of perspective not aimed at

restituting material presence, and recovering true

symmetry. Aneed for distance transpired from this, that

was enmeshed in architecture s end of being tn ~ th fu l .~

For Descartes, sense perception and vision in particular

were underrnined n his model for rationai thought. Although

vision was privileged among the senses, Descartes

understood he profound mental exercise necessary n order

to eliminate doubt from percepti~n.~~o understand the

ene

~ s ç o ~ r ~

unctioning of the eye demonstrated n the camera obscura,

de

l

mdthode plus

la

aboptriwe fesmBréoreset Descartes suggested to his readers to place a dissecteci

l

gBom6trie. Leiden

1637

human eye, or any relative animal eye, in a shutter through



which to view the images forrned on a piece of paper held

to the back of the eye? He wrote of the eye as the passive

receptor of Iight declaring that the first opaque structure

in

the eye receives the figure impressed upon it by the light.u87

Descartes clarified his theory of the transmission of Iight

stating

Iwould have you conceive of light in a 'luminous' body

as being simply a certain very rapid and lively movernent

or activity, transmitted to out eyes through air and other

transparent bodies, just as the movement or resistance

of the bodies a blind man encounters is transmitted to

his hand through his

In

The

World the work also called

Treatise on

Light

Descartes differentiated between the sensation of Iight and

its cause using the analogy of language: the relationship

between what is represented to the thing itself.

As

the

eye truly becomes the passive receptor, the

image

acquires

an objectivity, a truth. Reflections and images appear to

be the real things because they affect the eye in the same

ordered correspondence of light rays? In this sense, vision

can be easily deceived.

In the

Dioptries,

Descartes concluded that th senses must

belong to the soul, because in dreams or in

an

ecstatic

state, the body is unaware of

its

surroundings and believes

to be inhabiting another space with sights and smellso its

~ w n . ~ ' or Descartes, vision became the gaze of the

geometer, that of a third party, no longer an embodied

experience?



SH DOW

Before the second quadrature this same spot is seen

walled around by some darker edges which, Iike a ridge

of very high mountains turned away from the Sun,

appear darker; and when they face the Sun they are

brighter. The opposite of this occurs in valleys whose

part away from the Sun appears brighter, while the part

situated toward the Sun is dark and shady. Then, when

the bright surface has decreased in size, as soon as

almost this entire spot is covered in darkness, brighter

ridges of mountains rise loftily out of the da rk n e ~ s .~

In the above quotation, Galileo explained his reasoning

behind the changing light patterns across the moon. It was

the projection of shadows on the surface of the maon that

led Galileo to understand th role of the Sun illuminating

the ridges and valleys of the Earth's satellite.

It was not always taken for granted that one could

conceptualize Light and create a system for the projection

of shadows among perspective theorists. Even the

mathematical mind of Girard Desargues was unable to fully

conceptualize Light. A shadow was generally considered

to be a trace of the Divine and notab le to be reduced to the

rules which were goveming the physical world.

For most scholars at this point n time, the conceptualization

of Light in perspective renderings was understood as two

types of shadow projections. Firstly, the rays of the Sun

due to their immense distance from th object projected

parallel shadows. Secondly, light from

a

point source such

as a torch or candlelight projected perspectival shadows.



The sun itself eventually became the obiect of Galileo s

telescope. An increased magnification allowed him to study

more closely the

dark

spots which marred the surface of

the great star. Galileo also used his understanding of

perspectival projections to explain the movement of such

spots upon a spherical surface. Galiteo s pupil, Benedetto

dei Castelli, devised the method for projecting the image of

the sun through the telescope onto a piece

of

paper to

accurately measure and track the movement of the spots

n each image. First, he scribed a circIe with

a

compass

into which

fi

matched the projection through the telescope.

Therefore,

an

ellipticat projection was avoided, and each

image

was

exactly the same siz as the 0ther.9~ Galileo

pubtished these

findings

on the movement of sunspots,

shortly after Sidereas nuncius,

in

the treatise entitled, lstonTa

e dimonstrazione n .

Prior to Galileo s demonstration of the movement of the

spots related to the movements of the sun and the Earth,

the spots were thought to have been stars seen between

the Earth and the

suri?

lt was Galileo s inherent support

of the Copernican hetiocentric universe in these discussions

which eventually led to his censure

and

incarceration at

the hands of the Inquisition.

00th GaIiIeo and Descartes sought to define existing

phenomena through the contemplation of

a

totalic system

which couId never exist on Earth or, therefore, be disproved.

Gaiileo substituted

and

reconstructed re a li iafter an ideal



imagined reality. His mathematical world view created a

chasm between the ideal and the real phenomena of

unexplainable facts? Such as inthe case of the properties

found in

a

vacuum, he was able to postulate unreal bodies

in an unreal space. His experiments could never perfectly

achieve the conclusions of his postulates, because, for

example, a frictionless environment could not have been

created at that time so Galileo used an inclined plane in his

experiments.

Galileo described Iightas corpuscular. In the Assayer the

tenn atoms was resenred for luminous infinitesimalparticles

of discontinuous material, capable of penetrating ~ i g h t . ~ ~

While

bodies

were geometric, Euclidean

bodies

subject to

gravity, subst nces were quality distinctions both of a

separable propeity from their bodies in the mind and also

of an inseparable nature. Separablesubst nceswere such

qualities as

sm lt

ndsound. The inseparable were visible

or physicd charactetisticsP9

For Galileo and Descartes, movement became an analysis

of relational instances cornpletely removed from place.1w

Mathernatization of the wodd pemieatedeach field of study.

Apparently, every aspect of the world was written in the

language of geometry. The flow of time was the final

impossibility to truly conceptualize. This was evident for

Galileo nd Descartes when they attempted to solve the

equation for thefr fall of bodies. Three men unknowingly



and simultaneously worked on this problem: Descartes,

Galileo and Beekman. Each formulated the same theory

of falling bodies separately and each contained the same

error which Beekman later fixed.

Galileo began under the assumption that the speed of

acceleration was connected to the distance traversed,

overlooking its connection to the t h e elapsed. Descartes,

being more of a mathematician than a physicist, simply

interchanged the variables for distance with that of tirne

from the equation which Beekman presented to him.

Unwittingly, he had given Beekman the solution that

acceleration increased according to the time elapsed.lol

The idea of time or motion being a temporal reality became

a

strength in Galileo s work. nlike Descartes, Galileo

understood that every attempt to represent time results in

a geometrization of time. The conceptualization of tirne

was incontradiction to the continuous aspect of time which

eludes representation or mathematization. This

understanding enhanced the basis of Galileo s thought.lM

Perspectival llusion represented the conceptualized instant

isolating a moment in time from the flow of al1 others. This

moment was present according to

a

model of vision. In he

process of unfolding of the perspectival illusion, time was

expanded once again at the moment in which the illusion

appears to exist in

the

physical world.



ILLUSION

Andrea

Pozzo.

False

cupola in the

hufch of

II

Gesu

Frascati

Italy

I

suppose, therefore, that whatever things

I

see are illusions;

I

believe that none of the

things rny lying rnemory represents to have

happened really did so; have no senses;

body, shape, extension, motion, place are

chimeras. What then is true? Perhaps only

this one thing, that nothing is certain.lm

Descartes ernployed many analogies of light and

vision to describe reason and rational thought.

He wrote in his

Rules for the

irection

ofth Mind

in 1628of the lack of reason being virtually equal

to blindness. "For it is very certain that

unregulated inquiries and confused reflections

of

this kind only confound the natural light nd blind

our mental powers. Those who

so

become

5 r

ccustomed to walk in

/

darkness weaken their

eyesight so much that

afterwards they cannot

bear the Iight of

da^. '^

1

i

. lndulging in illusions

.

.

_

-

_

.

and

the

deception

of

the

senses dulls the

intellect and irnpedes

the recognition of truth

in Descartes' view.

Andrea

Pozzo.

Perspecliva pictamm et

afchitecto~m

ig 49

According to Descartes, the mind may be easily led into

and

50

respectively.

lm

delusions of al1 sorts, hallucinations, lunatic ravings, and

dreams, that in these cases sensual perception seems so



evidently true and yet is not real.lo5 Although he was

surrounded

by

a proliferation of treatises on and examples

of perspectival illusions Descartes opposed any art fom

which sought

ta

confuse the senses especially

anamorphosis. As

in

the case of Galileo Descartes

also

philosophicalIy objected to the disjunction between the

apparent image and its disguised reconstruction.



POINT OF VlEW

46

An Answer to the Objection made about the Point of

Sight in Perspective.

Every one does not approve, that

in

Perspective of great

Extent one Point of Sight only should be assign d the

whole Work; as for Example, In the whole Length of the

Nave, Cupola, and Tribune, express d in the Ninety-third

Figure, they will by no means allow of one single Point,

but insist upon several.

ANSWER, This Objection may be understood in two

ways; either that one Point alone is not sufficient for

that whole Length, and in this sense tis tnie; for that

Space being very long, it ought to

be

divided into Parts,

and proper Points assign d to the Tribune, Cupola, and

Vault of the Nave:

as

is commonly taught, where the

Situation

is

of a great Length, and not very high. Or it

may be understood of any One of the said Parts, and

so is altogether false.

First

Because in the Vaults of

Halls or Churches painted by the greatest Masters, if

they consist of one Piece only, we find but one Point of

Sight assigned. Secondly, Since

Perspective is

but

a countetfeiting

of the Truth, the Painter is not

obliged to make it appear real

when seen from Anypart, butfrom

One

determinate Point only.

Thirdly, Because, if in a Vault, for

i

Example, where you would paint

one entire Design of Architecture

and Figures, you assign several

Andrea Pozzo

Points of Sight, you will find no

Perspecliva

p c t o ~m

t

place whence you may take

a

perfectView of the Whole,

architactomm v 1 fig.

7s

and at best you can only view each Part from its proper

Point. From al1 which Reasons conclude, that the

Introduction of many Points into the same Piece, is more

injunous to the Work, than making use of one only

confess that myself make use of one Point of Sight

only, in very large Vaults that consist of one Design,

such as that of the Nave of the Church of S. Ignatius. If



therefore thro the lrregularity of the Place, the

Architecture appear with some Deformity, and the

Figures intermix d therewith seem any thing

lame

and

imperfect,

wh n

view d out of the proper Point, besides

the Reasons just now given. It is so far from being

a

Fault, that look upon t as an Excetlency

of

the Work

that when view d from the Point determin d, it

appear,

with

due

Proportion, straight, flat or concave; when in

reality it is not so. =

At the end of the first volume

of

erspectiva pictonrm e t

architectonrm, P ou o included these words in response to

those who advocated the use of multiple viewpoints within

a

perspective illusion.

or

the most part,

P o u o

employed

a single point of view in his quadrature. The viewer is able

to walk around the space to witness the scene from an

improper position realizing the distortions needed to

produce

an illusionistic effect from one point. Generally, P ouo

marked the exact point from which to stand to view the

work in the floor of the churches either usingapaving pattern

of marbte or placing a bronze disk in the existing marble

patterns.

As Pozzo stated

in

he above tesponse, the

ability

to reveal

the distortion of figures in an illusion from othetangles lends

to the efficacy of the ilIusion in his opinion. The dramatic

effect when positioned in proper respect to the illusion

produces a greater sense of wonderment. The exampIe of

which he had written, the nave of the church of Si gnatius,

is

an

extremely large work. There is one single pointmarked

in the marble ffoor from which to view the piece. On hat

point, the perspective unfolds. In the

quadratura

painted n



the nave the viewer may turn his or her body around to

witness the perspective spread out from that point in al1

directions. The viewer is positioned at the center of the

mathematical system.

Another work by Pono not farfrom the church of St. Ignatius

is the hallway outside the rooms of St. lgnatius preserved

in the Casa professa. P o u o painted this cycle around the

Andrea Po n o haliway to

Vie

moms

of St.

IgnaUus.

Casa professa.

Rome:

entrance bdve

nd

det il

below.

becomes extremely elongated. The

figures are stretched

in

the horizontal

direction when viewed facing the wall.

1 year 1680. In the eighteenth or nineteenth

century some of the paintings in this hallway were

overpainted including the framed image

of

Madonna and child. An extensive restoration in

the late 1980s revealed two major panels.

In the rather short and narrow hallway contrary

to popular advise P o n o employed

one

single

point of view. Within the overall illusion Pouo

painted framed perspective scenes fmm the life

of St. Ignatius to

be

viewed frontally. This

situation invites the viewet to walk around the

room destroying

nd

revealing

the

illusion.

Toward the corners of the hallway the distortion

The hallway which

is

a plain

banel

vaulted

space appears to have omate pink marble

columns with gold composite capitals and



enormous golden detailed brackets

supporting a flat ceiling. The space of the

brackets extends the height of the small

room. When approaching the room the

entry wall was painted with niches

containing the Jesuit saints Aloysius

Gonzaga and Stanislaus Kostka. The

entry is immediately off of the landing of a

wide stair a tight space not lending well

to the illusionistic effect.

Upon entering a few steps place the

viewer above a marble rose bloom wtiich

marks the proper point of view on the floor.

ndrea

Poao.

haltway

1

the mms ç Ignauus

The far wall which is crudely angled is painted to appear

Casa professa Rome:

viaw

above and window

longer and flattened with

a

pair of angeis piayirlg musical

details

below.

instruments under an archway. Beyond the ornately

columned archwav.

there seems to be a

domed

space

terminated by a

relatively simple

altar for St. Ignatius.

This space appears

to be illuminated

from above. The

hallway itself

contains four large

windows in

the wall



detail fmm Andrea Pozzo.

haliway 1 the m m sof

St.

Ignatius. Casa professa.

Rome.

hurch of S. Flora and

Lucilla of the Badia.

Arezzo My kl ow view

of

interior

and

lollowing

page false

cupola.

to the right and

a

hidden doorway.

Opposite the window wall is the door to

the rooms of St. lgnatius a few steps

higher than the level of the hallway and

window into one of those spaces. The

window is duplicated in the illusion in order

to carry a symmetry in the arcade of the

side wall. The stairs and the door leading

to the rooms present the most difficult

piece to incorporate into the illusion.

P o u o was somewhat successful with the

door varying the thickness of the marble

frame; but the stairs and their railings are

not at the appropriate angle or scale to

appear as a part of the perspective llusion.

Within the ornate gold leafed beams of the ceiling

are a variety of figures and framed images. The

larger adult angels are painted as fleshy winged

beings carrying framed monochromatic profiles

of important Jesuit brothers. There are two

versions of putti rosy fleshed babes and grey

stone statues. These cherubs are at

approximately the same scale lending to the

interplay between flesh and painted stone. This

is the type of illusion capable in painting which

Galileo praised n his conespondence with Cigoli.

Also framed in the ceiling are monochromatic

scenes from the life of St. Ignatius.



The technique of contrasting monochromatic

images with full color scenes was also used

by

Giorgio Vasari in an illusionistic painted room in

his own home in Arezzo. P o uo painted the false

cupola in the church of S. Flora and Lucilla of the

Badia in Arezzo where Vasari had designed the

altar

nd

painted its centerpiece and other

canvases.

The

altar painting is entitled 'S. Giorgio

e l

Macidalena, a self-portrait also including his wife

and

relatives. P o u o similarly included hirnself in the altar of

the church of

Gesu

in Frascati already mentioned. Pozzo

may have drawn from the work of Vasari in these instances.

Andrea Po no . view of

the

hallwaytoîhemmsolSt.

Turning around completely, the view in the hallway faces

Ignatius. Casa professa.

Rome.

the opposite direction toward the entry wall. Looking in this

direction, one can see the stairs to the

rooms of St. Ignatius. Above the entry

door is written S. Ignatio, Soc. lesu

fundatore. Atop the door frarne is the

crest of the Society of Jesus with their

symbol, IHS, surrounded

by

two painted

stone putti.

The side walls contain seven bays

which

alternate behnreentw styles according to

the windows. Opposite the window

bay

the niche appears deeper with two adult

angels standing below a framed scene

from the Iife of Christ.

The

other type of



bay is iess wide but contains a longer frame

containing a scene of a recorded miracle from

the life of St. ignatius. Under this frame are fleshy

putti also with vases of flowers. Above the frames

in the space of the ornate brackets

are

many

fleshy putti with tiny wings. Some of the fleshy

Andrea Pozzo detailsof the

hallway

IO

the rooms of

st

Ignatius

asa

The hallway invites the viewer to participate in

professa

Rome

the roorn to walk around the space in order to

view the different aspects of the illusion.

This

process simultaneously reveals and destroys the

illusion previously witnessed. As Pozzo wrote in

his response to those who were adamantly

opposed to this process this enlightening

approach adds to the wonderment of the illusion.

The positioning of the point of view was more

complicated in the case of the design of stage

set panels. Baroque theather productions were

very important to Counter-Reformation

propaganda and Pono himself produced many

designs. In Volume One of his treatise Pozzo

discussed in the Seventy-fifth Figure how to



Andrea Pozzo

Pefspectiva picmrum

et

arrhitectanrm.

v.

1

tg. 75.

Ferdinand0 Ga lri bien a.

L Architeitura Civile

1711.

produce these particular illusions with the

placement of staggered panels necessitating the

exact alignment of perspective angles. P o u o

suggested raising the stage floor and overtapping

the point of

view.

This slight confusion lends to a

greater numberof seats able to participate n the

illusion. Pouo also recommended the placement

of

hidden candles to illuminate he screens in he

Seventy-first Figure.

In 1711 Ferdinand0 Galli-Bibiena published his

treatise on perspective entitled

L Architettura

Civile

preparata

su

la Geometria, e ridotta aile

prospeffive. Considerarione pratiche.

Galli-

Bibiena devised the two-point perspective which

he termed

perspettiva per angoio,

for stage

designs

eliminating any problern seats within the

audience. With

a

second vanishing point almost

every seat could participate in the illusion.107

Conceptually this perspective method produces

a world in perspective which one naturally

inhabits rather than the symbolic unfolding of

single point of view. The distinction between

stage set

nd

theater was systematically

destroyed.



TRUTH AND FALSEHOOD 54

FlGURA Trigesima.

Optica projectio ædificii IONICI; ubi de modo jungendi

fjctum cum

ver^. ̂ ^

The interest of the Scientific Revolution in the determination

of

truth from falsehood led to a critique of perspectival

illusion which sought to deceive the senses. Ttiere was a

d

Andrea Pozzo

erspectjva pict mm t

crisis between truth and the appearance of things

which underrnined the traditional philosophical

understanding of the world. The quest for the

perfect model

of

vision involved perspectival

representation n the most heated debates of the

time. The conception of the universe itself was

changing from the heterogenous finite worid view

of the middle ages to

the

homogenous space of

the infinite universe. Perspectival theon sts had

to be sensitive to the issue of the vanishing point

extending to infinity. In the eyes of Roman

Catholic Church leaders, only God was or ever

architactmm V 1 fig

I

could

be

infinite. Pozzo wrote of this point in his introduction

to Volume One definitively stating that the lines of

perspective converged to Yhat one true Point, the Glory of

G a i U

Althougti the Roman Catholic Church and the powerful

Jesuit leaders endorsed the use of perspectival illusions,

other artists and philosophical leaders of the time debated

the

vatidity of

a systematic deception of the senses. The

practice

of

anamorphosis bore the brunt of their objections.

Perspective survived as

a

part of the scientific quest to



understand the senses and vision

in

particular.

Jean François Ntceron,

mamal rgusopiicus

Andrea Pono, iwo e h

images. defails from the

h llw y O

he

~ n sf S t

Ignatiw,

asa Pmfessa,

Rome.

P o u o did not specifically engaged in these debates of

record; buthaving been such a prolific artist and writer with

access to one of the most extensive Jesuit libraries at the

Biblioteca della Pontificia Universita Gregoriana, it sevident

that Pouo was aware

of

the significance of his writings

and his painted works to the broader disciplines t the time.

Descartes' critique of iIlusion extended to the visible in

general. Fteflection,

trompe

l oeil, quadrature and

anamorphosis, al1 were artifice as an obstacle to the seatch

for objective tm W * P o u o even defines perspective as a

Counterfeiting

of

the Truth in Volume One in the

aforementioned Answer to the

Objection

... l n

contradiction

to

his intentions, Descartes' philosophies

actually led to the reduction of Nature

herself to a theater of iltusions, an effect

of human artifice. l1° In a similar way,

perspective ransformed

an

understanding

of

reality into appearance. The subject of

art became psychological, and as would

follow, the divine was reduced to

a

matter

for contemplation by the hurnan mind.ll1

To paraphrase Vittorio de Feo inAndrea

Pono: rchitettur e itiusione, 'more than

performing mathematical perspective

with

precision, P o a o recognized a poss ib iiii



of reality. where perspective translates the virtuality of the

real/ with the help of the imag inati~ n.' ~ t was the

incorporation of the viewer in his works which opened the

narrative possibilities of perspectival llusions. Rather than

simply reproducing

a

narrow model

of

vision, Pozzo's intentions were

of

a

religious end, the Jesuit

mission,

propaganda fde.

Pozzo

employed perspective to actively

persuade he individual of the glory

of God and the esuit order.

Andrea Pono detail fmrn

the roams of S

Ignatius

Casa

professa.

Rame.

The viewer was positioned within the perspectival system

only to be invited to move through

the

space destroying,

revealing, and ultimately understanding the illusion. The

joining

of

truth nd llusion

for

Pono contained a distinctively

religious end. The moment in the unfolding of

a

perspectival

illusion was intended to create a miraculous revelation, a

moment of symbolic ritual expanding the present moment

in time.



MACHINES

Those lines will draw with a straight stroke of the pen

and write the main lines on top of them so that the

invisible lines may be thereby comprehended for in that

manner the inner meaning must be dernonstrated

e~ternally. ~

Albrecht Dürer wrote the above section on

perspectival construction lines in his

treatise entitled Unterwessung er

essung

in

1525 114

Dürer sought to

define the laws of visual perception using several

adaptations of a framed grid of strings. In his

woodcut prints, he depicted these machines in

perspectival scenes illustrating their use.

Although Dürer did not ultimately arrive at

a

unified mathematical perspective, it is important

to bear in mind his intention which was to

represent the physical world through a precision

of observation.

The machines, designed to aid in the drawing of

perspective directly from reality such as Dürer's

Albrecht Dürer. top abave

plate

f un

use of the grid, lost their position in perspective treatises

der Messung. 2nd edn.,

Nuremberg, 1538 and

afkr 1630. The main scholars who upheld the tradition

middle and bottom above

phtasirom

Untemysung

after Dürer were Vignola1 Egnatio Danti, Ludovico (Cigoli)

der

Messung.

1st

edn.,

Nuremberg, 1525).

Cardi, and M a ~ o lo is .~ ~ ~uidobaldo del Monte also produced

several machines for drawing in his treatise. After

1630,

the trend in perspective treatises returned to the brief

mentiming of a device similar to the concept presented in

Dürer's woodcuts of

a

basic veil, or grid of strings.R6



In

fact

Pozzo emptoyed the use of

a

very large grid in Figure

One-hundred of Volume One of his treatise to project a

perspective drawing onto the irregular surface of a barre1

vault in the nave of the church of St. lgnatius (illus., p. 46).

AIthough conceptualIy he wrote of the traditional use of

a

light source placed at the view point, in practice the

Iight

would never be strong enough to cast

a

shadow

of

the

strings onto the vault with sufficient intensity to be lightiy

traced. Pozzo recommended the placement of a grid of

strings at the level of the spring of the vault. Using a long

string

one

person would stand

at

the

view point holding

one end of the string while the other person

on

scaffdding

in the vault would align the other end of the string with a

cross point in the grid and extend the string to the vault.

Therefore the grid would be accurately transferred ont0 any

irregular surface no matter how far removed from the source.

Pozzo possibly could have been exposed to another

measuring device illustrated in Vignola s Le due r gol

(illus.,

p. l

. It is in this image that Vignola demonstrates

the precision of measurement using

tw

people, one to

measure the points of importance on a sliding t-square ruter

and

the

second person to record hose points onto the pâper.

The second person who is actually producing the drawing

is not looking directly at the object being drawn.lT7 Vignola

also emptoyed the mettiod of a projected grid in his

illustrationof how to ammplish crude anamorphic images.

Not surprisingly, Cigoli s discussion

of

the projection of



images ont0 vaults and domes carried many

affinities to Galileo s explanation of the movement

of s u n s p o t ~ . ~ ~ ~n his treatise, Perspettivaprattica

Cigoli s machines represent a crossbreed

between Dürer s veil and Vignola s measuring

sticks.llg Guidobaldo del Monte s machines for

drawing in perspective are also close to the

Vignolal Danti type.

It s not possible to

be

certain from which sources

Pozzo developed his understanding of

perspective projection. Vittorio de Feo posited

that he was influenced by Palladio, Vignola,

Colonna and Mitelli, Morazzione, Richini, Bemini

Ludovic0 Cigoli.

three

abave images from

and Borromini.

De

Feo also described Pozzo as being

Perspetfiva pratica. c.

1610-1613,presenily in

predisposed oward Guarinian meditations.lZ0Considering

ie

Gabinettodi Disegnie

Srampe. Uffizi G allety

Guarini s critical position in regard to perspectival llusions,

Fiorence.

it is unlikely that Pozzo considered Guarini to be a kindred

spirit, or vice versa. In addition to the Iist of possible

influences on Pozzo s work, de Feo neglects to explain any

Andrea

P o u o .

pe~wdiv

icfoNm

et

coincidences in their lives or work to warrant these ties.

archilecto~nl 1 fig.

83

r* YP

;

. -

Even Pozzo s simple rendition of

t

the method for projecting a lattice

ont0 a vaulted surface reinforces

his intentions to create a basic,

easy-to-follow method for the

production of perspectivai

drawings. Rather than debate the



Andrea

Pozzo,

Palan

Contuen . Montepulaano.

Andrea Pozzo, above

Palazzo Lichtestein.

Rossau and below

W.

Halbax,

ûiihofstimrner,

Vienna

possibility of the correspondencebetween

drawing and architectural space, Pozzo

easily demonstrated the method or oining

the built world with painted illusions. The

coincidence between plan and elevation

drawings to locate the points in

a

perspective have been clearly

systematized (only to be confounded on

Figure four of Volume two witht he mention

of two eyes). Each of his perspectival

demonstrations illustrated this point: the

relationship between orthographic

drawing and perspectival projections was

unified in a mathematical, what was

eventually to be termed as Cartesian,

space. Koyré wrote of Descartes spatiaI

understanding in his introduction to

Descartes

hilosophical Works

as:

pplied mathematics, or mechanics;

a physics based on the clear and

distinct ideas of extension

and

motion,

a

physics that reduces al1

material being to an endless

interplay of movernents,

governedbystrict mathematical

laws, in

the

uniformspace of the

infinite universe.

Pozzo s position

with

respect

to

the

joining of truth and illusion is



J Kramolin Chureh of

the

Gesù

at

Jihlava

Iglau

enhanced by his vast nurnber of executed

perspectival illusions. When viewed during the

proper light of day, his method produced fascinating

visual deceptions with an almost complete blending

of built architecture and painted space.

During

his final years in Vienna, Pozzo designed

and

assisted in the execution of major perspective woM.

His designs decorate the ceiling of the ornate

Universitatskirche, the architecture of the impressive

freestanding main altar of the Franziskanerkirche,

and the

ceiling

in the ballroom of the paiazzo

Lichtestein in Rossau. These pieces greatly

infiuenced the painters of central European Rococo

C O Asam Church of

movement. The artists who continued in

the vein of the work of Pozzo adapted the

perspective point of view to suite their

evolving understanding of perspectival

space. The Rococo movement saw the

removal of the embodied point of view

from spatial perspectival illusions. Such

painters as Halbax, Tausch, Kramolin and,

of course,

Cosmas Damian

Asam 1686-

739)

introduced a disem bodied

perspective which sought to more

assertively trespass the boundary

Weingarten

between the physical environment and the painted llusion.

Their frescoes incorporated elements of sculpture to blend

the edges of

the

illusion into the ar~hitecture. ~



Andrea Pozzo ialse

cupola and nave of the

Universi tatskirche

Vienna

Also distinctively absent from their

perspectival spaces was the embodied

viewer. The Rococo painter raised the point

of view from eye level to somewhere floating

in the space above the viewer. The

space

of

the perspective became uninhabitable,

a

spectacle for

a

distanced viewer.

The

ococo

perspectival illusion was somewhat

in

contradiction to the origins of perspectiva

artificialis

as the embodied experience of

geometric order in space.

There was an abstraction of the observer following the

Cartesian representationof the ultimately passive, receptive

eye? Eighteenth century philosophes lost interest in the

study of perspective drawing. While light remained acentral

metaphor during the Enlightenment, there was

a

pervading

sense of conditionality, perspectival light rays from a point

source rather than the parallei infinitely distant light of

GO^. *^

Natural light was thought to De inherently

misleading, for truth must have a well-ordered origin in

Method and position within a system as dlAIembertstated

in his

En~ylcopédia ~~~



FROZEN MOMENT

An absolute master of perspective,

P ouo created on the flat surfaces of

the walls and the gentle curve of the

vault the illusion of immense space

filled with complex architectural and

human forrns.

Walk around either end of the comdor

and look around. You will discover that

the beams of the ceiling that seemed

straight are really curved, that the cher-

ubs on the walls are thoroughly dis-

torted, that the deep chape1 at the end

of the corridor is really painted on a

flat, slanted wall. As you walk toward

the center again, you watch the archi-

tecture slide into focus. P ouo oined

mechanical precision with playiul con-

fidence

in

his craft and deep love for

his subject, St. lg n a t i u ~ . ~ ~ ~

The passage above written by Thomas M.

Lucas, S.J. for the opening of the exhibi-

tion to celebrate the completion of the res-

toration of the rooms of St. lgnatius sum-

manzesth dynamic spatial

understanding in Pozzo s

perspectival illusions. Al

though he supported the

use of one point of view

within a space, Pouo in-

vited the viewer to pass

through the space to reveal

his artistry in the distortions

of the figures and architec-



tural elements. Through spatial narra-

tive in the revelation of the illusion, P ono

allowed for the expansion of the frozen

moment in time inherent in perspectival

illusions. He participated in the decep-

tion of the senses opposed by contempo-

inthe

pintual Exercises

Pozzo s work employed the use

of the seoses,

of

vision, to convince the observer of the

glory

of God

the

point

t which al1 lines converge.

In

his

self-portrait, P ono sits in the robes of

his

faiîh pointing

up

nd

over his shoulder to a representation of his famous

faIse cupoia

as

he

gazes

into the eyes of the obsw er .



List of

Works

Self-portrait,

Uffizi

Museum, Florence, Italy.

Perspective paintings on

the Vauk of nave,

Cupola

80

palmi

diarneter

=

approx. 18m), and Main altar, Church of

St.

Ignatius, Rome, ltaly

1688-1 694).

Architecture

of

side altar of St. Luigi Gonzaga, Church of

St. Ignatius, Rome M y .

Corridor to the

rooms

of

St.

Ignatius, Casa professa adjacent

to the Church of Gesu, Rome, ltaly 1681).

San Francesco Borgia adora I Eucharista, Church of

Gesii Rome, ltaly

(1683-1685).

Cappella della Vigna, Rome, ltaly

1682-1 686).

Refectory, Church of Tn nita dei Monti, Rome, ltaly

1694).

Cristo accoglie Sant lgnazio in cielo, Church of Gesu,

Rome, ltaly

(1

697-98 -

Architecture of the Main altar to St. Ignatius, Church of

Gesu,

Rome, Italy.

Perspective paintings on the Cupola,

Side

altars, Main altar

and Framedperspectives ncluding Martirio dei Santi

Sebastiano e Agnese

and

Sant lgnazio accoglie San

FrancescoSaverio, Church of Gesu, Frascati, ltaly

(1

683-1684).

Madonna col bambin0 e santi Michele e Giovanni Battista,

Cathedral, Cuneo, M y .

La

Vergine e santi Michele e Giovanni Battista, Cathedral,

Cuneo, M y 1685).



'Risposo in Egitto,' Church of Santa Maria, Cuneo, Italy.

Architecture of the Main altar to St. Ignatius, Church of Santi

Martiri, Torino, ltaly 1 677-1680).

Cristo crocifisso,' Church of San Lorenzo, Torino, Italy

1679).

'Adorazione dei Magi,' Congregazione dei mercanti, Torino,

ltaly

1697).

'Adorazione dei pastori,' Congregazione dei mercanti,

Torino, ltaly 1701).

'Fuga in Egitto,' Congregazione dei mercanti, Torino, ItaIy

1701).

'Strage degl'innocenti,' Congregazioni dei mercanti, Torino,

ltaly

1

703).

'Immacolata concenzione con San Stanislao,' Church of

SantlAmbrogio, Genova, ltaly

1

665-1

670).

'San Francesco Borgia in preghiera,' Church of

Sant'Ambrogio, Genova, ltaly 1665-1670).

'Ss.

Ambrogio e Andrea,' Genova, ltaly 1671

).

'San Francesco Borgia con la Madonna,

il

Bambino

e

sant'Annal and 'L'lmmacolata concezione con San

Stanilao Kostka,' Church of Gesu, Genova, ltaly

m.1671).

'Annunciazione,' Sacristy of the Cathedral, Mondovi, ltaly

1

692,

Rome).

'Gloria di

S.

Francesco Saverio,' Cupola in the church of

Missione, Mondovi, Italy.



Angelo custode, Church of San Fracesco Saverio,

Mondovi, Italy.

Gloria di S. Francesco Saverio, Cupola, Church of San

Francesco Saverio, Mondovi, ltaly (1676).

Altar and Nave, Church of San Francesco Saverio, Mondovi,

Italy.

Prostrati I adorandu, main altar of

Pia

Congregazione e

Banchieri, Arezzo, ltaly

1

693).

Perspective painting of the Cupola, Church of Badia delle

Ss. Rora e Lucilla, Arezzo, ltaly (1702).

Flagellazione di Cristo, collection of Silvino Borla, Trino

Varcellese, Italy.

Cattura di Cristo, Collection of Silvio Boria, Trino Varcellese,

Italy.

Architecture of the Main altar,

Church

of Ss. Giovanni e

Paoto, Venice, ltaly

(1674).

Predicazione

di

San Francesco Saverio, Jesuit College,

Novi Ligure, ltaly

1665-70).

MartiriodiSan Venanzo, Church of San Venanzo, Ascolia

Piceno, Italy (1683-86 .

Sant lgnazh ccoglie San Francesco Borgia, Church of

Santo Stefano,

San

Remo, ltaly (1665-1

670 .

Prospettiva con Ultima Cena, Museo Diocesano, Trento,

Italy.

Prospettiva con Circoncisione, Museo Diocesano, Trento,

Italy.



Presentazione al Tempio, Museo Diocesano, Trento, Italy.

Architectural design, Church of San Francesco Saverio,

Trento, Itaiy.

S. Francesco Saverio batteua e genti, Museo nazionale,

Trento, ItaIy.

Sacra Famiglia, Parrochiale, Lasino [Trento], ltaly

1703).

Architectural design, Church of St. Ignatius, Ragusa, ltaly

1702 .

Architectural design, Duomo,

Lu

biana (1702 .

Salon, Palauo Contucci, Montepulciano, Italy.

Perspectives

in

the side altars, Church of Gesu,

Montepulciano, Italy.

Church of San Bernardo, Montepulciano, Italy.

Church of

S.

Maria dei Servi, Montepulciano, Italy.

Predicazione

di

San Francesco Saverio, Church of San

Francesco Saverio, San Sepolchro (1690).

San Siro risana gli infermi, (attr.) Duomo, Pavia, Italy.

Disputa di

Gesu

fra dottori,

Altar

lunette in the Basilica of

San Defendente, Romano di Lombardia [Bergame].

Architectural Facade,

Church

of Santa Maria maggiore,

Trieste, ltaly after 1702).

Architectural design,

Jesuit

college, Belluno, ltaly 1704-

705 .

Gloria

di

Sant lgnazio, finished by Chnstopher Tausch,

Gorizia, Austria.



Crocefissione, Jesuitenkirche, Wenna, Austria.

Cristo crocifisso, Universitatskirche, Wenna, Austria (ca.

1705).

CAssunta, Universitatskirche, Vienna, Austria

1

709).

Sant lgnazio

e

San Stanislao Kostka, Universitatskirche,

Vienna, Austria

1

704-1705).

Archangelo Raffaele, Universitatskirche, Wenna, Austria

(1704 1705 .

Fuga in Egitto, Universitatskirche, Vienna, Austria (1704-

705 .

Sacra famiglia, Universitatskirche, Vienna, Austria 1704-

705 .

San Giuseppe, Convento delle Orsoline, Innsbruck, Austria

1703 .

Architecture of the Main altar, Franziskanerkirche, Wenna,

Austria (1

706-1707).

Ballroom, alazzo Lichtestein, Rossau [Vienna], Austria

(1704-1

709).

Main aItar, Casa professa of Kirche am Hof, Vienna, Austria

1

709).



NOTES

70

Gaileo

wrote this passage

in

Istorie e dimonstrazione,

1613 in response

to

those who

betieved that cornets

produce their

own light.

See

M. Clavetin, The

atud

Philosophy

of Galileo, (Cambridge, Massachsettes:

The MIT

Press,

1974 or Martin

Kemp,

The Science

ofAR:

Optical Themes

n

Westem

Art fram

Brunelieschi

to Seurat, (New Haven, Connecticut: Yale University

Press, 1990), p. 96.

Martin

Kemp,

The

Science of

Art:

Optical Themes

in

WesternArt fromBrunelleschi to Seurat,

p.

1

96.

Ibid.,

pp. 93 96.

Martin

Kemp, The Science

of

Art: 0pti;cal Themes in

Western

Art from

runelleschi

fo Seurat

see Erwin Panofsky, Galileo as a

Cn tic

of the Arts,

(The

Hague:

M.

Nijhoff,

1954).

lberto

Pérez-Gomez, Architecture

and

the

Cn sis

of

Modem

Science, (Cambridge, Massachusettes: The

MIT Press, 1983 .

see MartinKemp, The Science ofAfl: Optical Themes

n Westem Art fromBrunelleschi

o

Seurat,

990).

S. Y.

Edgarton, Galileo,Florentine 'Disegno,' and the

'Strange

Spotteûnesse

of

the

Moon,

Ar?

Journal,

XLIV,

(1984), pp. 225-232.

Martin Kemp,

The Science ofArt:

Optical Tfremes in

WestemArt

fmm Bnrnel eschi to

Seurat,

pp.

93-98.

Ibid., p.

93.

Stillman

Drake,

GaliIeoat W ok

a

Scientific 8iogmphy,

(New

York: Oover

Publications, Inc.,

19781

p

35.

Martin Kemp,

The Science of

AR:

O p W

Themes in



WesternArt from Brunelleschi o Seurat,

p.

76.

Ibid., p. 79.

Ibid.,

pp.

86-92.

Rene

Descartes,

Philosophical Writings, transes.

ElizabethAnscombe and Peter homasGeach, (New

York: Columbia University Press, 19611,

p. 34.

This statement

was

recorded in Howard Hibbard,

Bernini, (London: Penguin Books

19651,

p.

19,

as

according

to

Basil

Willey,

The Seventeenth-centuy

Backgmund, Hamonds-Worth, l962), pp. 9ff. and

passim.

Op-cit., p. xxi, in

the

introduction written by Alexandre

Koyré.

Ibid.,

p.13.

see Erwin Panofsky, Galiieo as a Cn'tc of

the

Arts.

see the section entitled7 heLovers of Perspective

in

Andrea Pozzo, Perspective

in

Architecturé and

Painting: n Unabndged epnht

of

the English-Latin

Edit ion of the

1693

Perspectiva pictorum e t

architectorum ,

(a

reprinting of the London, 1707

trans.

John James of Greenwich, (New York Dover

Publications, Inc.,

l989), p.12.

Vittorio de Fm Andrea Pozzo:Architettum e llusione,

(Rome:

Officina

Edizioni,

1988 .

bid.

Ibid.

Nino Carboneri,

Andrea

Pozzo Architetfo, (Trento:

CollanaArtisti Trentini,

1961).



see Figure Nine in Andrea Pozzo, Perspective in

Architecture and Painting: an Unabridged Reprint of

the English-Latin Edition of the 1693 Perspectiva

pictonrm et architectomm ,(a reprinting of the London,

1707) trans. John James of Greenwich, p. 30.

see Figure 53 in Andrea Pozzo, Perspective in

Architecture and Painting: an Unabmged Repniit

of

the Engiish-Latin Edition of the 1693 Perspectiva

pictorum et architectorum , (a reprinting of the London,

1707) trans. John James of Greenwich,

p.

118.

see Figure 53 in Andrea Pozzo,

Perspective in

Architecture and Painting: an Unabridged Reprint of

the English-Latin Edition

of

the 1693 Perspectiva

pktonrm et architectorvm:

(a reprinting of the London,

1707 trans. John James of Greenwich,

p.

121.

Martin Kemp,

The Science of Alf: Optical Themes in

Western Art from Bnrnelleschi to Seurat,

1WO), p. 69.

Alberto Pérez-Gomez and Louise Pelletier,

Anamorphosis: an Annotated Bibliognphy with Special

Reference to Architectural Representation,(Montréal:

McGill University Libraries, 1995),

p.82.

see introduction

by

Alberto Pérez-Gomez n Claude

Perrault,

Ordonnance for the Five Kinds of Columns

after

th Method of

the

Ancients, trans. Indra

Kagis

McEwan, (Santa Monica, California: The Getty Venter

for the Humanities, 1993 .

Rosario

Assunto

Un filosofo nelle

cappitali

d Europa

La filosofia di Leibniz tra Barocco e Rococo), Storia

dell Arfe

3,

(19691

pp.

296 337.

Alberto Pérez-Gomez,

Architecture

and theCrisis of

odem Science,p.

31

and

the introduction

by

Alberto



Pérez-Gomez n Claude Perrault, Ordonnance for the

Five Kinds of Columns after the Method of the

Ancients trans. Indra Kagis McEwan, p.21.

34 see Vittorio de Feo, Andrea Pouo: Architettura e

illusione and Dunbar H. Ogden, The Ialian Baroque

Stage: Documents by Guilio Trolli Andrea Pozzo

Ferdinand0 Galli-Bibiena Baldasare Orsini (Berkeley:

University of California Press, 1978),

p.

169. The

second text includes images and excerpts from Volume

Two of

Perspectiva pictorum et architectorum.

35 Ibid.

36 Roberta Maria Dal Mas, Le opere architettoniche a

Ragusa, Lubiana, Trieste, Montepulciano, Belluno e

Trento, in Andrea Pouo eds. Vittorio de m and

Valentino Martinelli, (Milano: Electa, 1W6 , pp. 184-

203.

37 Op. cit.

38 Roberta Maria Da1 Mas, Le opere architettoniche a

Ragusa, Lubiana, Trieste, Montepulciano, Belluno e

Trento, in Andrea Pouo, eds. Vittorio

de

Feo and

Valentino Martinelli,

pp. 184-203.

39 The section entitled Ad Lectoremn n Andrea Pouo,

Perspectiva pictorum et architectomm Andrea

utei

e Societate Jesu pars secunda (Rome: Giovanni

Generoso Salomoni, 1758 edition in the collection of

the Biblioteca della Pontificia UniversitaGregoriana.

40

Marina Carta and Anna Menichella, II successo

ediioriale del Trattato, in Andrea Pozzo eds. Vittorio

de Feo and Valentino Martinelli,p. 230

41

Ibid.



Joseph Rykwert, The F h tModems: the Architects of

the Eghteenth Century, (Cambridge, Massachusettes:

The MIT Press, l98O), pp. 142-154.

Martin Kemp, The Science of Art: Optical Themes in

Western Art om Bninelleschi o Seurat, p. 79.

Steven F.

Ostrow,

Cigoli's lmmacolata and Galileo's

Moan Astronomy and the Virgin in the Eariy Seicento

Rome, The Art Bulletin

78 2

(1

996 ,

pp. 21 8-235.

Ibid.

S.

Y.

Edgarton, Galileo, Florentine Disegno,' and the

'Strange Spottednesse' of the Moon,

Art

Journal, pp.

225-232.

Ibid.

William R. Shea, Panofsky Revisited: 'Galileo as a

Critic of the Arts', Renaissance Studies inHonourof

Craig

Hugh

Smjdh

(Florence, 1985), p.

483

Alexandré Koyré, Galilean Studies, (Hassocks,

Sussex: he Hatvester Press Limited, 1939), part ill

Pietro Redondi, Galileo Heretic, trans. Raymond

Rosenthal, (Princeton, New Jersey: Princeton

University Press, 1987).

Martin Kemp, The Science of Art: Optical Themes in

Western it fmm Brunelleschi o Seurat

S. Y Edgarton, Galileo, Florentine Disegno,' and the

'Strange Spottednesse' of theMoon, Art Journal, pp.

225-232.

I

bid.

54 Ibid.



Erwin

Panofsky,

Galileo as

a Critic

of

the Arts.

Martin

Kemp,

The Science of

Art: Optical

Themes in

WesternAR

rom

Brunelleschi to Seurat.

Miles Chappell, 'Cigoli,

Galileo,

and Invidia, e Art

Bulleth 57, 19751,pp 91-98

Martin

Kemp, The

Science

of

Art: Optical Themes

in

Western

Art

from

Brunelleschi tu Seurat,

p.97.

Ibid.

Stillman

Drake, Galilecrat

o ka

ScientjficBiogmphy,

(New

York:

Dover Publications,

Inc.,

19781, p. 35.

Martin

Kemp, The

Science of Art:

O p t i ~ l

hemes

in

WesternArt hum Brunelleschi to Seurat.

lgnatius

of

Loyola, The Spiritual Exercises of St.

Ignatius,

trans. Anthony Mottola,

Ph.D., (New York:

Bantam DoubledayOell Publishing Group, Inc., [1964]

1989),

p.

54.

Ibid.,

p.

59.

Andrea Pozzo, Perspective in Architecture and

Painting:

an

Unabn'dged Reprint of the English-Latin

Edition

of

the

693

Perspectiva pictorum

et

afchitectorum: (a reprinting of the

London, 1707)

tfans. John James of Greenwich,

p. 12

Ibid.,

p. 139.

Bernd Wolfgang

Lindemann, Ex

aliena luce

quaerito'

Kosmologie und Staatsverstàndis im barocken

Denkenbild, Sitzungsbenchte, Kunstgeschichtiiche

GesteIIschaftzu

Beriin

N.F.

31,

(1982-1W ,

p.

3-7.

67 see Gaiileo

Galilei,

II

saggiatore,

in Opere VI, 18961



p. 232.

Translation found in William

R.

Shea,

Panofsky Revisited: 'Galileo

as

a

Critic

of the Arts',

Renaissance Studies in

Honourof

Craig Hugh

Smyth

p. 483.

Pietro Redondi,

Galiko

Heretic trans. Raymond

Rosenthal,

pp.

57 58.

Ibid.

Alexandre Koyré,

Galilean Studies

part

1

Ibid.

Martin Kemp,

fhe Science

of

Art: Optical Themes

in

Western

AR

from Brunelleschi to Seurat

pp. 34-36,

pp. 92-97.

Ibid.

Ibid., p. 81

Alberto Pérez-Gomez

and

Louise Pelletier,

Architectural Representation

and the

Perspective

Hinge

Cambridge, Massachusettes: The

MIT

Press,

1997),

p.

S I .

Ibid., pp- 5t -55.

Martin Kemp, The Science ofArt: Optial Themes in

Western

AR mm

Bruneileschi to Seurat

pp. 34-36

and p.

81.

Ibid., p. 165

Ibid., p. 83.

Ibid., p. 122.

81

Janine

Debanne, etween

Reiiquary and Cenotaph:



Gaurino Guarini s Cappella Santa Sidone, (Montréal:

McGill University, Master Thesis, History and Theory

of Architecture, 1995).

82 Ibid.,

p. 77

83 Ibid.,

p.

81.

84

Dalia Judovitz, Vision, Representation and Teehnology

in Descartes,

Modemity and the Hegemonyof W o n ,

ed. David Michael Levin, (Berkeley: University of

California Press, 1993),

p. 63.

85

Rene Descartes,

Philosophical Wntings,

transes.

Elizabeth Anscombe and Peter Thomas Geach, pp.

244-245.

87

Rene Descartes, Philosophical

Wntings,

transes.

ElizabethAnscombeand Peter Thomas

Geach, p.241

88 Oalia Judovitz, Vision, Representation andTechnoIogy

in Descartes,

Modernityand

theHegemonyof

Vision,

ed. David Michael Levin,

p. 71

89 Maurice Merleau-Ponty,

The Primacy of Perception

and Other Essays on Phenornenologid Psychology;

the

PhilosophyofArt, Historyand Politics,

tms

James

M. Edie, (Chicago: Northwestern University Press,

1964),

p.

170.

90 Rene Descartes, Philosophical Wfitings, transes.

ElizabethAnscombe and Peter Thomas Geactt,

p. 242.

92 Gaiileo Galilei,

Sidereas nuncius

or

the

Sidereal

Messenger,

trans. Albert Van

Helden,

(Chicago: The

University of Chicago Press, 1989 , p.

45



93 Alberto Pérez-Gomet, McGill University, lecture

delivered on 3 February

997.

94 Martin Kemp, The Science ofArt: Optical Themes in

Western AR from Brunelleschi to Seurat, pp. 34-36

and p. 95.

95

Ibid.

96

Alexandré Koyré, Galilean Studies, part

III

97 Definitions found in Galileo's the Assayer. See

translation in Pietro Redondi, Galileo Heretic, trans.

Raymond Rosenthal, p.

59.

98

Alexandré Koyré, Galilean Studies,

part III

99

rnst

Cassirer, Symbol, Functionand Einstein's Theory

of Relativity, transes. William

Curtis

Swabeyand

Marie

Collins Swabey, (Chicago: The Open Court Publishing

Company,

l923 ,

.

75.

100 Op.cit., part

II

101 Ibid.

102 Rene Descartes, Philosophical Writings transes.

Elizabeth Anscombe and Peter Thomas Geach,

p.

66.

103 Quotation written by Rene Descartes in Rules for the

D i m o nof the Mindin1628 published post-humously

in

1701 .

The translation is in the article by

alia

Judovitz, Vision, Representation and Technoîogy in

Descartes, Modemity and the Hegemony of Vision,

ed. David Michael Levin, p 67.

104 rom Rene Descartes, Meditations on the First

Philosophy Wherein are demonstrated he Wstence

of

God

and

the

Distinction of

Sou1 fmm

Body

1642.

Translation n ReneDescartes PhiiosophicalWntings



transes. Elizabeth Anscombe and

Peter

Thomas

Geach, pp.

61

-62.

1

O5 Andrea Pozzo, Perspective in Architecture and

Painting: an Unabrfdged Reprint of the English-Latin

Edition

of

the 1693 Perspectiva pictorum et

architectonrm:

(a

reprinting

of

the London, 1707)

trans. John James of Greenwich,

p.

221

1

O6

Werner Oechslin, Xrchitecture, Perspective and the

Helpful Gesture of Geometty, Daidalos, p. 40

107 Andrea Pozzo Perspective

in

Architecture

and

Painting: an UnabMged Reprint of the EngIish-Latin

Edition

of

the 1693 Perspectiva pictorum et

architectorum , (a reprinting of the London,

1707

trans. John James of Greenwich,

p.

73.

1O8 DaiiaJudovitz 'Vision, Representation ndTechnology

in

Descartes,

ademity

and

he

Hegemony

of

Vision,

ed. David Michael Levin, p. 63.

109

Ibid. p. 65.

110

Martin Kemp, The Science ofArt: Opfical Themes in

Western Art

h m

Bnrnelleschi to Seurat,

pp.

34-36

and p.

72.

111 Vittorio de Feo Andrea Pouo:Alchitettura e illusione,

pp.

14-15.

112 Translation found in Werner Oechslin, 'Architecture,

Perspective and the Helpful Gesture of Geometry,

Daidalos,

p.

46 Original text wriiten

byAlbrecht

Dürer,

Untenveysung der Messung, 1525.

11

3 Martin Kemp

he

Science o fAR: O p t W Themes

in

Western Art

h m

Brunelleschi to Seurat, pp. 34-36

and p. 171



114 Ibid., p 184.

115 Ibid.

116 Ibid., p. 174.

117 Ibid.

118 Ibid., pp. 177-180.

119 Vittorio de Feo, Andrea Pozzo: Architettura e illusione.

120 Richard Bosel, Le opere viennesi e oro riflessi

nelllEuropa centro-orientale, in Andrea Pozzo, eds.

Vittorio de Feoand Valentino Martinelli, (Milano: Electa,

1

6),

pp. 204-229.

121 Alberto Pérez-Gomez

nd

Louise Pelletier,

Architectural Representation and the Perspective

Hinge, pp. 74-75.

122 Hans Blumenberg, 'Light

as

Metaphor for Truth: At

the

Prelirninary

Stage

of Philosophical Concept

Formation, Modemity nd

the

Hegernony of Vsiun,

ed. David Michael Levin, (Berkeley: University of

Califomia Press, 1993), p. 53.

124 Thomas M. Lucas, A Guide to the Roomsof

St

Ignatius

Loyola, (Rome: Sograro, 1990).



Andrea

Pozzo PrimarySources.

Pozzo, Andrea. Breve descrizione della pitlura fatta nella

voffa del tempio di Santo lgnazio scoperta I anno

MDCXCIV. (Rome, 1694) Biblioteca nazionale di

Firenze

Pou o, Andrea. La Nuza vita. (Naples: Bulifonianis, 1679)

Biblioteca della Pontificia Università Gregonana

Pozzo, Andrea. Perspectiva pictonrm et architectorum

Andrea Putei .pars prima Latin and Italian. (Rome:

J. J. Komarek, 693 1700 volume also containing

Perspettiva de pittori e architetti duAndrea

Pozzo.. .parte seconda; ltalian and French. (Rome:

Gio. Giocomo Komarek, 1700 Biblioteca della

Pontificia Università Gregoriana

Pouo, Andrea. RulesandExampies of Perspective proper

for Painters and Architects.. . Latin and English.

John James of Greenwwich, trans. (London: John

Sturt, ca.

1707

McGill University McLennan-

Redpath Library

Pozzo, Andrea. Perspectiva pictorum et

architectorum

p

rs prima... Latin and Italian.

(Rome: Joannis Zempel Austriaci, 1741 Wesleyan

University Library


architectomrn.. .pars secunda... atin and Italian.

(Rome: Antonio detRossi, 1737) Wesleyan

University Library

Pozzo, Andrea Perspectiva pictorum et

architectorum. .pars prima;

Latin and Italian.

(Rome: Salomoni, 1764 Biblioteca della Pontificia

Università

Gregoriana




architectorum.. pars secunda; Latin and Italian.

Rome: Salomoni, 1758 Biblioteca della Pontificia

Università Gregoriana

Pozzo, Andrea. Perspective in Architecture and Painting:

an Unabridged Reprint of the English-and-Latin

Edition of the

693

Perspectiva Pictorum et

Architectorum a reprinting of the London,

1707).

John James of Greenwich, trans. New York: Dover

Publications, Inc.,

1989)



Andrea Pozzo: Secondary Sources.

Accessions of Arnerican and Canadian museums (Andrea

Pozzo- Study for a chape1 in the Jesuit church in

Vienna), Art Quarterly24,

(1

961), pp. 92-114.

Acquisiti dei musei

e

gallerie dello Stato: Andrea Pouo

(attr.), Pala

di S. Giuseppe,

Bolletino d'arte

41,

(1956), p. 371.

Affreschi di Andrea Pozzo minacciati

da

un incendio,

Archivio Tientino 17, (1

XE ,

p.

252.

Andrea Pou o: Pala di S. Giuseppe,' Bollettino d'Arte del

Ministero della Pubblica istrurione (Educazione

nazionale)

4

, 1%6), p. 371

Angeletti, Quirino, Carchitetturanella scenografia dei secoli

XVlle XVII

,

Atti e

memone della R. Accademia di

S LUM 111,

1

913-l914), pp. 133-143.

Angeli, Diego, L'arte barocca neIla chiesa del Gesù

a

Roma, Arte italiana decorativa e industriale 15,

(1906), pp. 21-24,33-35,72-83.

Apollonj-Ghetti, Bruno M., Pet l restauro della cupola

prospettica di San Ignazio, Roma Rivista di studi e

di vita romana

21

,

1

9431,

pp.

222-223.

Argensville, Anton Joseph Dezallier d'.

Abrégé de la vie

des plus fameux peintres avec leurs portraits graves

en taille-douce, les indications de leurs principaux

ouvrages, quel ques reflexions sur leurs

caractt res, et la manidre, de connaître les dessins

et les tableaux des grands maitres, par

(ArgensvilCe.. .

des

Sociétés Royales des Sciences

de

Londres &

de Montpellier,

I (Paris,

1792 ,

pp.

295-304.



Baldinucci, Francesco,

La

vita d i Padre Pozzo Gesuita,

Atti della imperiale regia Accademia di scienze,

letrere ed arti degli Agiati in Roverto 3, n. 2,

v.

18,

(1912), pp. 207-237.

Baroncelli, Francesco, La devozione e I'immagine.

S.

Bartolomeo, la chiesa dei Gesuiti di Modena, 3.

L'architettura dipinta

di

Fratel Giuseppe Barbien,

L arte

degli Estensi: La pittura del Seicento e del

Settecento a Modena e

a

Reggio, Exhibition

Catalogue, (Modena, 1986 ,pp. 54-58.

Basile, Alessandro, Le due grandi cappelle della crociera

ne1Gesù I'anno della canoniuazione di Sant'lgnazio

Francesco Saverio, La canoniftazione dei Santi

lgnazio di Loyola fondatore della Compagnia di Gesù

e Francesco Saverio apostolo deli onente: Ricordo

del terzo centenano (22 March 1922), pp. 116-118.

Bauer, Hermann, Zum Illusionismus Berninis,

Antikenrezeption im Hochbarock, (Berlin, 1989), pp.

129-1

42.

Belzoni, Mario, 'Andrea Pozzo,' Trentina4, (1933), pp. 271

278.

Benvenuti, Edoardo, 'La vit del Padre Pozzo scritta da

Francesco Baldinucci,' Atti della imperiale regia

Accademia

i

scieme, lettere

ed

arti degli Agiati in

Roverto3, n. 2 v. 18, (1912).

Bianootti, Angiolo, 1 300 anni della Pia Congregazione dei

Banchien, Negozianti e Mercanti di Torino e della

toro artistica capella, La Martinella di Milano 18,

(1

964 ,pp.

337-340.

Blunt, Anthony. Two Architectural Drawings byAndrea

Pozzo,' Master Drawings, v. 20, n.

1,

(1982), pp.

22-24,

PIS

4-25.



Borràs, Antonio, lglesia de S. Ignacio, Rom : Famosas

pinturas del

H o

P ouo S.J., San Ignacio: Revista

del curato centenario, BarceIona, (July-Aug ust

1956),

pp.

12-15.

Bradley, Morton C., The Perspective of Andrea Pozzo,

TechnicalStudies in

the

Field ofFineArts6 (1

937 ,

8, pp. 1-1

6.

Braun, Joseph, Fozzo Andrea,

Thjeme-Becker

Kunster

Lexicon, ((Lipsia, 1

933).

BricareIli, Carlo, L'altarediS. lgnazio nella chiesa del

Gesir

di Roma,' La civiltawttolica

73,

1922), 4, pp.

401-

41

4.

Brieger,

Peter H. 'The Baroque equation, illusion and

reality, Gazette es88aux-Arts27, (1945),

pp. 1

43-

145.

Brix, Michael, 'Trauergerüste für die Hapsburger in Wien,'

MenerJahfhfch

für

Kunslgeschichte

26, 1973), pp.

208-265.

Brucher, Günter,

'Die

barocke Denkenmalerei in der

Steierrnark: Verçucheiner

Entwicklungsgeschichte,

Jahrbuch

des

Kunsthistorischen Institutes

der

UniVefsiîat Graz

8

1973 ,

pp. 1-122.

Brugnoli,

Maria

Vittoria, Attivita delle soprintendenze:

Roma,

Chiesa

di S. Ignazio,

Bollefino

d arte 52,

(1967 ,

S.V., pp.

247-248.

Brugnoli, Maria Vittoria, Pouo Andrea, Enciclopedia

Cattolica, Rome, 1952).

Bruni, Bruno, Grandena di Andrea Pozzo, CittB di

vita

14,

(1959), pp.

568-574.



Buck, Victor de. Le Gesu de Rome, notice descwtive et

histodque. (Bruxelles, 1871), pp. 31-42,60.

Bull, Duncan, London- Old Master Drawings, The

Burlington Magazine 126, (1984), pp. 585-586.

Busco, D. Salvatore. Brevi Notizie sulla Chiesa del Gesù

in

Frascati Roma). (Frascati: Chiesa del Gesu in

Frascati, 1996)

Busiri Vici, Andrea, 'Caltare

di

Sant'lgnazio della

chiesa

romana

del

Gesù in una prospettiva di Francesco

Pagnini,YL'urbe9, (1W6), n. 2 pp. 28-32.

Blunt, Anthony,

Two

architectural drawings by Andrea

Pono, aster Orawings 20, (1982), pp. 22-24.

Calvo, Francesca Chiesa diSant'lgnazio. (Rome, 1968)

Carboneri, Nino.

Andrea

P o n oArchitetto. (Trento: Collana

Artisti Trentini, 1961)

Carboneri, Nino,

'La finta

cupola della Chiesa di Badia in

Arezzo

e

le finte cupole di Andrea Pozzo, Atfi del

Xi1congressodistoria dell'architeftura (Arezzo, 10

15 Septernber 1961), (Rome, 1969), pp. 245-260.

Carboneri, Nino, Gli affreschi della chiesa

di

San

BaRolomeo a Modena e

l

Pittore Giuseppe Barbieri,

rfe

in

umpa 1 (1968), pp. 737-744.

Carboneri, Nino. 'Carchitettura di Andrea Pono, Bolletin0

del

Centro

intemaUonaledi studidiarchitefiundi

Andrea Palladio 4, (1962), pp. 123-128.

Cariucci, P Zaccaria.

La

Chiesa di

S

lgnazio diLoyola

in

Roma. (Rome: Abilgraf 1995)



Ceccarius (Ceccarelli, Giuseppe), Cronaca

e

storia di un

capolavoro restaurato (Cupola diS. Ignazio), esuiti

della provincia romana 16, (Rome, 1963),pp

4 7.

Ceiling of the Church of St. Ignatius in Rome,

A~~hitectural

Record v.

4

pl. 165, (1894-1895).

Cerrato, Anna Maria, Opere inedite O poco note di Andrea

Pono,

Commentari, rivista dicfitica e storia dieII arte

1

O

(1959), pp. 24-32.

Chandlery, Peter John.

Le camere diSantJlgnazio i Loyola

ne1 Gesù di Roma. (Roma, 1899)

Conelli, Maria Ann, S. Maria Assunta dei Gesuiti und das

'Treatrum Sacrum',

Daidalos

29 (1988), pp. 72-77.

Cristini, MArino, 'Andrea P ouo e la chiesa di Santa Maria

Maggiore a Trieste,

Studi trentini di scienze stonChe

30,

(1

95l), pp. 99-105.

De Angelis, Alberto, 'La scenografia sacra di Andrea Pouo

a Roma e a Frascati,

Studi romani

6,

(1

9581, pp.

160-1

70.

De Feo, Vittorio.

Andrea Pouo: Architettura e illusiune.

(Rome: Officina Edizioni, 1988)

De Feo, Vittorio. L'Architettura imaginata di Andrea Pozzo

gesuita,

Rassegna di Architettura

e

Urbanistica,

(April 1980),

v.

16, n. 46, pp. 79-1 09.

De Feo, Vittorio and Valentino Martinelli, eds.

Andrea

Pozzo. (Milano: Electa, 1996)

Della Pergola, Paolo, 'Quattro ritratti di Andrea Pozzo,'

Studi

trentini di scienze stofiche

13, (1gaz), pp. 260-265.

De Maffei, Femanda,

La

questione

Guardi:

precisazioni e

aggiunte,' Arte in Europa 1 (1966), pp.

839-867.



Dionisi, Aurelio.

II

Gesù

di Roma.

(Rome, 1982)

Dionisi, Aurelio.

estanze

di

S.

Ignazio.

(Rome, 1980)

Enggass, Robert. 'The Altar-Rail for

St.

Ignatius's Chapel

in the Gesù di Rama,

The Burlington Magazine,

1

6 ,

(1974),

pp.

178-189.

Enggass, Robert, Bernardino Ludovisi- : The Early Work,

The

Burlington Magazine

110, (1968), pp. 438-44.

Enggass, Robert, Un problème du baroque romain tardif:

projets de sculptures par

des

artistes non

sculpteurs,

Revue

de l art (1976), n. 31, pp. 21 32.

Fabrini, Natale.

a chiesa

di

S.

lgnazio in

Roma. (Rome,

1952)

Fagiolo, Marcello, 'Strutture del trionfo gesuitico: Baciccio

e PouoIn

Storia dell arte

(1980), pp. 353-360.

Fagiolo dell'Arco, Maurizio, IlBarocco romano (rassegna

degli studi 1970-1974),

Stona dell arte

(1975), n.

24-25,

pp.

125-143.

Fagone, Virgilio, Il problema dello spazio prospettiw nella

pittura di Andrea Pozzo,

La

civilità caffolica

102,

(196l),

1

pp. 405-410.

Ferrari, Giulio, 'Pensieri sull'arte del Padre Andrea Pozzo,

Pro cultura.

Riv.

Bim.

di studi tridentini,

(Trento,

1910), fasc.

2,

pp. 85-100.

Fiocco, Giuseppe, La prospettiva di Andrea Pozzo,'

Emporium 93,

(1943), pp. 3-9.

Francia, Enrico, Una cupola in ela,'

NoMano d arte

(1963),

pp. 1-2, 15-16.



Franz-Duhme,

Helga

Nora,

Zum Retiefstil

von Angelo

de

Rossi (167

1 1

7

15).7ahrbuchder

Berliner

useen

29-30,

(1987-1

988),

pp.

21

7-234.

Gadamer, Hans-Georg.

73e

Relevance

of

the

BeauiifuI

and Other Essays. Nicholas Walker, trans.

(Cambridge:

Cambridge University

Press,

[ 9f7

1

994

Galassi-Paluui,

Carlo,

Architettie decoratorinellachiesa

del Gesù, Architettura e arti decorative. Rivista

farte

di

Storia4

(1924-19251, pp.

3-22.

Galassi-Paluui,Carlo, 'Note

di

storia e d artesu

le

cappelle

e gli altaridelGesù, Roma. Rivista

dd

studi e

di

vita

rom n

7

1929), pp. 303-308,384-394.

Gargano, Maurizio, 'Andrea Pozzo e I'altaredi Sant'lgnazio

al Gesu di Roma: I'architettura tra scenografia

effimera e monument0 perenne,

Aa.Vv.:

Enciclopedisrno in

Roma

bamca (Venice, l986),

pp.210-216.

Gendel, Milton. New Treasures Uncovered in Old Rome,'

Art

News, v.

62,

no. 4,

(summer,

1966),

pp. 34-35.

Grignon, Marc. Pozzo, Blondel, and

the

Structure of the

supplement, Assemblage (February, 1987), no.

2,

pp.

96 109.

Griseri Andreina. Andrea Pozzo: unith

di

strategie,

prospettiva e pittura,

Arte

cristiana, (September-

December

1994), v.

82,

n. 764-765, pp.

483 492.

Guldan, Ernst. Diejochverschleifende Gewôlbedekoration

von Michelangelu bis

Pozzo

und der bayerisch-

dsterreichischen Sakraiarchitektur. (Gôttingen

1954



Hager, Hellmut, II modello di Ludovico Rusconi Sassi del

concorso per la acciata di San Giovanni in Laterano

(1732 .

Commentan22

(1971

),

pp. 36-67.

Hammer, Heinnch, 'Andrea Pottos fnihestes Freskowerk,

Monatshefte für Kunstwissenschafl 10, (191

7),

pp.114-118.

Hamy, Alfred. Galerie illustrde de la Compagnie de Jésus.

(Paris, 1893)

Harries, Karsten. The Bavarian Rococo Church: Between

Faith and Aestheticism. (New Haven, Connecticut:

Yale University Press, 1983)

Haskell, Francis, Painting and the Counter-Reforrnation,

Burlington Magazine

100 (1%8), pp. 396-399.

Heres, Gerald, Der gefesselte Kenttaur: Ein Elfenbeinrelief

im Grünen Gewiilbe,' Dresdener Kunstldtter

22,

(1978), pp 140-145.

Hoffmann, Volker, Die Fassade vo San Giovanni in

Laterano, Rdmisches Jahrbuch für Kunstgeschichte

17, (1W8), pp. 1-46.

llg, Albert, 'Der Maler und Architekt P. Andrea Pozzo,

Benchte und Mitteilungen des Altewmvereins zu

Men

XXIII, (1886).

Jacob, Sabine, Zu m e i emischenArchitekt urzeichnungen

der Berliner Kunstbibliothek, Rdmisches Jahf6uch

fiir Kunstgechichte 16, (1W6),

pp

289-304.

Kerber, Bernhard.

Andrea Pozzo.

(Berlin: Walter de

Gruyter, 1971)

Kerber, Bernhard, Andrea Ponos Kuppelzwickel von S.

lgnzio in Rom,

FesfschNff Werner

Hager,

(Recklinghausen, 1966), pp 122-126.



Kerber, Bernhard, 'Andrea Ponos Wandbilder

im

Palais

LiechtensteinnzuWien,

~sterreichische

eitschriff

für Kunst undDenkmalpfiege 1

9,

(1MS) ,

pp.

48-50,

Kerber, Bernhard, €in Bozzetto des Andrea

P o u o im

Düsseldorfer Kunstmuseum und venvandte Altare,

MiiteiIungen

des

Kunsthistonschen Institutes

Fiorenz

12, (1965-1966), pp.

145-150.

Kerber, Bernhard, 'Designs for Sculpture

by

Andrea Pom ,

The

Art

Bulletin47, 1965 ,

pp.

499-502.

Kerber, Bernhard, EinKirchenprojekt des Andrea P ono

als Vorstufe für Weltenburg? Axhitektura

Zeitschm

für GeschichtderArchiteMur (1W2), v. lpp. 34 47.

Kerber, Bernhard. Ein Kircher projekt des Andrea Pouo

als Vorstufe

für

Weltenburg?'

Architedura:

Zeitschrift

ür

Geschichte der ArchiteMur

(1

W2),

n.

1

pp.

34-

37.

Kerber, Bernhard, Die

Ruhe

auf der Flucht, ein Jugendwerk

Andrea

Pouos:

Wiederholungen, Variaten und

Kopien,' Cultufa atesina 17, (1963), pp. 5-9.

Kerùer, Bernhard, 'Einige unverijffentlichtes Hauptwerk

Andrea Pouo,

Arte antica modema,

(1W ,

.

28,

pp. 280-282.

Kerber, Bernhard, 'Zur Chorgestattung

von S.

Ignazio

in

Rom,' Pantheon 23, (1965), pp. 84-89.

Kirschbaum, Engelbert, La conclusione dell'architettura

occidentale, ossia il significato dell'arte di Andrea

P ono della volta diS. Ignazio, Lettere: Rassegna

mansile

di

letfere,

arti, pensiero

2,

(1

946 , pp. 250-

252.



Knall-Brskovsky, Ulrike, Andrea Po nos Ausstattung der

Jesuitenkirche in Wien Konespondenz von Fom,

lnhait und Ausdruckskraft,W i e n e r Jahrbuch ür

Kunstgeschichte

40, (1987), pp. 159-173.

Kowalczyk, Jerzy, Andrea P ono a poz'ny barok w Polsce.

Cz. Traktat oltarze (Andrea P ouo et le baroque

tardif en Pologne. Traité et autels), Biuletyn Histodi

Szutuki37, (1975), pp. 162-178.

Kowalczyk, Jerzy, Andrea P ono a p6z'ny barok

w

Polsce.

Cz. II: reski sklepienne (Andrea P o u o

et

le baroque

tardif en Pologne.

II:

fresque de platfona),

Biuletyn

Historii Szutuki37, (1975), pp. 335-350.

Kutschera-Woborsky, Oswald von, Zu Andrea Pouos

Fresken in Mondovi,

Monatshefte für

Kunstwissenschaft

10, (1

917), pp.

385-388.

Lavagnino, Emilio, II restauro della cupola di Sanllgnazio,

Studi romani 10, (1962 , pp. 144-1 50.

Lindemann, Bemd Wolfgang,

'Ex

aliena luce quaeritol-

Kosmologie und Staatsverstàndnis

im

barocken

Denkenbild,

Sitzungsberichte, Kunstgeschichtliche

Gestellschafi t u Berlin

N.F.

3

t 1

982-1983),

pp.3-

7.

Lucas, Thomas M.

A

Guide to the Rooms

of

St. lgnatius

Loyola.

(Roma: Sograro, 1990)

Lulofs, Hiske, Decors voor net veertigurengebed

in

de

Romeinse Gesù (Docorazioniper le quarant'orenella

chiesa del Gesu), Incontri, Rivista di studi italo-

nederlandesiN.S., 3, (1988), n.2, pp. 55-61.

Mallé, Luigi, Appunti per

il

b a r n ella Provincia Granda,

Cuneo, Provincia Granda

13, (1964), n.

2, pp 11

16.



Mariani, Valerio, La cupola diSant'lgnazio ne1 Trattato di

Prospettiva di Andrea Pozzo,' Roma, Rivista d istudi

e di

vita romana 1 (1923), pp. 432-434.

Mariani, Valerio, Emilio Lavagnini, Studiroman ill, (1963),

pp. 320-323.

March, Giuseppe M., Intorno alla statua di Sant'lgnazio di

Loyola del Gesu di Roma (Nuovi documenti),

A.

R.S.I. 3 (1934), pp. 300-312.

Marini, Remigio, Andrea P o u o a Santa Maria Maggiore a

Trieste, Emporium 123, (1 961 , pp. 199-208.

Marini, Remigio, Andrea Pozzo e suoi dipinti d'altare,

Arte Veneta 14, (1960), pp. 106-119.

Marini, Remigio. Andrea Pozzo piftore

76424709).

(Trento, 1959)

Marini, Remigio, Cortona, Gaulli, Pozzo, tre stadi

dell'illusionismo barocco, Empodum129, t959 , pp.

243-252.

Marini, Remigio, G iulio Quaglio: la Ma turità e la

vecchieua, Arte veneta 12,

1

958), pp. 141 1

57.

Marotti, Ferruccio, Structure de l'espace scénique dans

les représentations théatrales d'après les traités

Italiens du XVIe

au

XVIIIe siecle,

Les

fêtes de l

Renaissance, (Paris, 1956 , v. 3,

pp.

231 238.

Masheck, Joseph Daniel Cahil, The Original High Altar

Tabernacle of the Gesù rediscovered,

The

Burlrngton Magazine 112, (1970),

pp.

110-11

.

McCabe, William Hugh. An Introduction to the Jesuit

m e a t m a PosthumousWork. (St. Louis, Missouri:

lnstitute

of

Jesuit Resources, 1983)



Medici, Priscilla Grazioli.

Chiesa del Santissimo Nome di

Gesù in Piazza del del Gesù, estratto da Medici,

Marmorari Romani.

(Vatican City: Vaticana, 1992)

Milizia, Francesco. Memorie degli architetti actichi e

modemi.

(Bassano-Venezia, 1785), p. 209.

Milizia, Francesco. Le vite dePiÙ celebn architetti d ogni

nazione e d ogni tempo precedute da un Saggio

sopra I architettura.

(Rome, 1768), pp. 384-385.

Mellano, Maria Franca. L'attivita di Andrea Pozzo (1672-

1681 nella corrispondenza di governo del generale

della Compagnia di

Gesu,

Arte cristiana

(September-December 1994), v. 82, no. 764-765,

pp. 473-482.

Millon, HenryA., The Antamoro Chapel in S. Girolamo della

Carità in

Rome: dr wings

by Juvarra

nd

an

un known Draftsman,

Memoires od the American

Academy in Rome 35, (1

98O), pp. 261

-288.

La

Missione' di Mondovi Piazza,

Società Pietmontese di

Archeologia e Belli Arti. Bollettino.

v 1

0, no. 3-4,

pp.

71 73, (July-December

1926 ;

v. 11, no. 1-2, pp.

17-23, (January-June 1927).

Moccagatta, Vittoria, Lachiesa dei Santi Martin diTorino:

architettura, decorazione, arredo,

Bollettino di

Società piemontese di archeologia e di belli arti25-

26,

(1971 1 972), pp. 67-108.

Montalto, Lina, Andrea Pozzo nella chiesa di Sant'lgnazio

al Collegio Romano,

Studimmani6,

(1%8), pp. 668-

679.



Montalto, Lina. Deliberazione del Consiglio superiore delle

antichità e belle

arti:

Roma, S* gnazio, restauro della

cupola,' Bollettiito d arte

del

Ministero della Pubblka

istmzione €ducarione

nazionale),

se ries 3, 28,

(1934), pp. 191-1

92.

Montalto, Lina, Mentre

e

in corso

il

Iavoro di restauro: la

stofia della finta cupola di Sant'lgnazio,

Capitolium

37,

(1962), pp.

393404

Montalto, Lina. II problema della

cupola

di Sant'lgnazio

da P. Orazio Grassi e Fratel P ouo ad

oggi,Tentro

diStudiper

la Ston a dell Architettura.

Bollettins no.

1 ,

pp.

33-43 1957).

Montalto-Tentori, Lina, 'Proposta

di

restauro della cupola

finta in prospettiva nella chiesa di Santltgnazio in

Roma, Bdlettino d arte del Ministero della Pubblica

istruzione (€ducarione nazionale),

se ries

3, 28,

1934 ,

pp. 224-228.

Montalto, Lina, II ripnstino della cupola finta di Sant'lgnazio

dell'idea d i Fratel Pono, Capitolium11 (1935),pp.

63-72.

Montalto, Lina, 'La storia della finta cupola di Sant'lgnazio,

Capitolium

37, (1962 ,

pp. 393-404.

Mosender,

Karl,

'Matthiius Giinther 1705-1

788:

Festslicht

es Rokoko for Kirchen, Ktoster, Residenzen,'

Kmstchronik42,

(1

989),

n.

2,

pp. 55-61.

Muiiez, Antonio, 'Un capolavoro ignoto di Fratel

Pouo

ne1

PaIauo delllApollinaire , Regina Apostoiorum

(Roma: Pontificiurn lnstitutum utriusque iuris, 1943),

pp-30-34.

Muiiez, Antonio, Dipinti ignoti di Fratel P o n o del Palazzo

Apoliinaire e

in

Vaticano,

L M e : Msta

rom n

8,

(1

943 ,

pp. 3-6.



Muzio, Giovanni, Andrea Pozzo della Compagnie di Gesù

(1642-1709), primato (1

5

October 192O), pp. 14-

21.

Nel 1992 é stata restaurata nella Badia di Arezzo la 'finta

cupola' di Andrea Pozzo, Soprintendenza ai Beni

A.A.A.S. Arezzo and Gruppo Andrea Pozzo,

(Arezzo).

Oechslin, Werner. Architecture, Perspective,

nd

the

Helpful Gesture of Geometry, Daidalos, pp.

38-54.

Oechslin, Werner, Sebastiano Concas gemaltes Teatro

sacro:' Die 'Piscina problematica' in der Tribuna der

Chiesa della

SS.

Annunziata des Ospedale

S.

Maria

della Scala in Siena (1732), Scrittidistona dell arte

in onore di Federico Zen, (Milan, 1984), pp. 804-

81 9.

Ogden, Dunbar H., trans. The ltalian Baroque Stage:

Documents by Giulio

Troili,

Andrea Pozzo,

Ferdinando Galli-Bibiena, Baldassare Orsini.

(Berkeley, California: University of California Press,

1978)

Orlandi, Pellegrino Antonio. Abecedado pittori co, contente

le notizie de professori di pittura, scultura, ed

architettura. (Bologna, 1704)

Pascoli, Leone. Vite depittori,

scultori

edarchitefti modemi,

2.

(Rome, 1730-1736), pp. 245-276.

Patrignani, Giuseppe Antonio. Menologio di pie rnemorie

d alcuni religiosa

de/la

Compagnia di

Gesu, 3.

(Venezia, 1730), pp. 253-256.

Pesenti, Franco Renzo, Inediti d i Nicola Grassi e un

possibile Andrea Pozzo, Commentan 19, 19681,

pp. 229-233.



Pevsner, Nicholaus, Die Wandlung von 1650 in der

italianisschen Malerei,

Wiener Jahrbuch

ür

Kunstgeschichte 8 ,

1932), pp. 69-92.

Pietrangeli, Carlo, cura.

Guide Rionali di Roma: Rione IX-

Pigna, Parte

1,

2

&

3.

(Roma: Fratelli Palombi

Editori, 1 80)

Pipita, Giuseppe, cura. La

Chiesa del Gesù a Frascati.

(Frascati: Poligrafica Laziale s.r.l., 1995)

Pipita, Giuseppe. LaChiesa di Gesù a Frascati,

Palladio

(January-June 1994),

v.

7, n. 13, pp. 73-90.

'Principales acquisitions des musées de province (Andrea

Pozzo, L'Ange gardien), La

reveu du Louvre

et des

musdes

de

France

31, 198l), p.291.

Principales acquisitions des musées en 1981, Gazette

des beaux-arts

99, (1982), n. 1358, p. 7.

Porta, Emilio, L'opera mirabile di

un

artista ventenne:

Andrea Pozzo da Trento,

Comere Tridentin0

3.1

0 ,

(1948).

Postinger, Cari Theodor, Andrea Pozzo e lrestauro della

chiesa del Seminario a Trento,

La Settirnana,

(Trento 1.2.1895, pp.

1-8.

Rinville, Marie-Christine,

Le

décor plafonnant et le trompe

l'oeil dans les églises de Rom au dix-septième

siècle,

L information d histoire

de

art

2 , (1957), pp.

118-133

Riu i, Wilhelm Georg, EinunbekanntesWerk von Andrea

Pozzo, Wiener Jahrbuch r Kunstgeschichte 33,

1980),pp. 184-185.



Romano, Giovanni, Notizie su Andrea P o uo tra Milano,

Genova, e

l

Piemonte,

Prospettiva

(1989-1WO), n.

57-60, pp. 294-307.

Romano, Giovanni, Una ricerca per Andrea Po uo ad

Alessandria, Bollettino della Societii piemontese di

archeologia

e

belli aRi N.S. 43 (1989), pp 307-

31O

Rovella, Giuseppe, Andrea

P o u o

e I'arte barocca,Ya

civilta cattolica 93

(1W ) , 4, pp. 153-1

6 .

Rovella, Giuseppe, Andrea Pouo

e

I'arte gesuita, La

civilta

cattolica 93 (1942), 4, pp 290-300.

Russo, Maria.

Andrea

Pozzoa Montepulciano: 1- La Chiesa

del

GesU (Montepulciano: Editori del Grifo,

1979)

Schadt, Hermann, Andrea Ponos Langhausfresko in

S.

Ignazio, Rom,'

Das Münster

24, (1W l) , n. 2-3,

pp

153-160.

Schemper-Sparholz, Ingeborg, Nachrichten über veriorene

Werke von Rauchmiller, Stanneti, Lanzani und Pono

bei den Trinitarien in Wien, Wiener ahrbuch ür

Kunstgeschichte

38

1

985), pp. 261-265.

Schane, Wolfgang, Zut Bedeutung der Schragsicht für die

Denkenmalerei des Barocklu Festschrift urt

Badt

zum 70, (Geburtstage Berlin, l9 6 l) ,

pp.

144-1

72

Sernar, John, Some architectural designs of Padre Pono,

for the Theatre of the seventeenth century, with an

introductory note,

The Mask7, (19

14), pp. 39-51.

Signorelli, Bruno,

La chiesa ed

l

collegio dei Gesuiti di

Alessandra, Bollettino della Società piemontese di

archeologia e belli

arfi

N.S. 43 (1

989), pp. 199-

221



Signorelli, Edmund, La chiesaie l collegio dei Gesuiti a

Salu uo, considerazioni, Bollettino della Societa

piemontese archeologia e be lli arti, N.S. 5, (1993),

pp. 166-167.

Stadler, Edmund, 'Die Raumgestaltung im barocken

Theater, Die Kunstfomen des Barockzeifalters

14,

(Bem, 1%6), pp. 190-226.

Stadt, Hermann. Andrea Pozzos Langhausfresko in

S.

Ignazio, Rom: Zum Thementradition der barocken

Heiligenglorie,' Das Münster-,

v.

24, no.

2i3

(March-

June 1971), pp. 153-160.

Tentori, Lina Montalto.

.

roposta di restauro della cupola

finta in prospettiva della chiesa di

S.

lgnazio in

Roma, Bollettino d'Arte, v. 28,3d. serres, (November

1934), pp. 224-228.

Tietze, Hans, Andrea Pouounddie Fürsten Liechtenstein,

Jahrbuch für Landeskunde von NiederGsterreich13

14, (1914/1915).

Torre-Revello, José, El hermano Andrea del Pozzo

arquitectoy pintor, Estudios, (BuenosAires, n.

480

1956), pp.

35-38.

Tubello, Luciano. II restauro dell'altare de Sant'lgnazio al

Gesti,

L urfie:

Rivista

Romana

di

Storia

Arte,

Leflere,

Costumanze (September-December 19891,

v. 52,

nos.

5-6

pp.

5-10.

Videscott, Luisa, Andre Pozzo,

gli

anni della forrnazione,

gli apparati effemerie le opere permanenti: ipotesi

di ricerca, Arte lombarda (1991), n. 98-99, pp.

154-

155.



Waicher, Maria, 'Andrea Pozzo e le ripercussioni del suo

trattato net Friuli e nella Venezia Giulia, Arte inFruii,

arfe in Tneste

15, (1995), pp. 103-131.

Walcher-Casotti, Mana, IIcollegio e la chiesa de i Gesuiti a

Gorizia,

Studi goriziana

71, (1990), pp. 113-160.

Wentner, Marini G., 'Padre Andrea P o u o di Trento,' Alba

trentina 1 1

n.

3 ,

(1918).

Wünsche, Raimond, Der Torso vom Belvedere- Denkmal

des sinnenden Aias, MüncherJahrbuch der

bildenden Kunst 44

(1993),

pp.

7-46.

Zanardi, Bruno, II restauro e le tecniche di esecuzione

originali

[II

voltone di Pietro da Cortona in Palazzo

Barberini],

Quademi di

Palauo

Venezia 2,

(1984),

pp.

11

52.

Zippel, Giuseppe, Andrea Pouo,'

Strenna trentina lettaria

ed artistica4

(1893),

pp.

89-108.

Zippel, Giuseppe, n quadro poco noto di Andrea Pouo,

Studi trentiiii: Rivisfa trimestrale della stxietà pergii

studi fmntini6,

(Trento,

1925 , p. 88.

Zippel, Giuseppe, Un affresco mal noto di Pouo a Vienna,

Tmetino: Rivista della Regione trentina, 3, 1

W ,

pp.

21

9-221.



Perspective: PrimarySources.

Alberti, Leon

Battista.

Della pittura.

(Firenze:

G.C.

Sansoni,

1950)

Alberti,

Leon Battista. De pictura praestantissima.

(Portland,

Oregon:

Collegium Graphicum,

ca.

1972)

Alberti, Leon Battista. On

Painting.

(New

Haven,

Connecticut:

Yale

University Press,

1956)

Barbaro, Daniel. La practica della perspettiva. Sala

Bolognese:A. rni,

1980)

Baroni da Vignola, M. Jacopo.

Fiegole della

Pmspettiva

Pratfica. (Venice: Pietro Bassag ia, 1

743)

Bosse, Abraham. Maniere UniverseIIe de Mr Desaurgues.

Alburgh:

Archivai Facsimiles,

1

987

Cigoli, Ludovico. Perspettiva praticanwith Fve Orders of

Architecture, [unpublished,

6

31 searching for

a

translationby

Mites

Chappell, Filippo Camerota, and

Martin Kemp.

Dubreuil, Jean. Lap rspmv pratique: necessairea tous

peintres, graveurs, sculpteurs, architectes, oorphvres,

bm uts,

tapisiers,&

autresse

servans duDessein.

(Paris: Chez la reufue François I'Anglois, 1647-51)



Perspective: Secondary

Sources.

Andrews, Lew.

Story and Space in Renaissance Art: the

Rebirth

o

Continuous Narrative.

(Cam bridge:

Cambridge University Press, 1995)

Baltrusaitis, Jurgis.

Anamorphic Att.

(New York, 976)

Blake, Jeremy.

La falsa prospettiva in ltalian Renaissance

Architecture.

(Stocksfield, Northumberland: Oriel

Press, 1982

Brusantin, Manilo. Illusionismo e Architeftura del 700

Veneto, catalogo. (Castelfranco, Veneto, 1972)

Cam merota, Filippo, Arnmannati

e

la prospettiva

architettonica, Bartolomeo Ammannati, scultore e

architetto 1511-1

592,

Atti del Convegno di Studi

(Firenze-Lucca, 17-19 mano 1994), (Florence,

1

9951,

pp,

247 253.

Chappell, Miles

L-,

Some Paintings of Ludovico Cigoli,

AR

Quarterfy

34 (1971), n. 2, pp. 203-218.

Clerici, F The Grand Illusion,

Art News Annual,

XXlll,

(1953), pp. 98-150.

Crary, Jonathan.

Techniques of the Observer On Vison

and

Modernity in the Nineteenth Century.

(Cambridge, Massachusettes: MIT Press, 1990)

Damisch, Hubert.

The

Origin of Perspective. John

Goodman, trans. (Cam bridge, Massachusettes:

The

MIT

Press,

1

994)

Descargues, P

Perspective.

(New York: H. N. Abrams,

1 n )



Edgerton, Samuel Y

The Renaissance Redi3covery of

Linear Perspective.

(New York: Basic Books, 1975

Euclid.

n7e Thirteen Books of Euciid's Eiements.

(Chicago:

The Encyclopedia Britannica, Ca. 1952)

Fag olo, Maurizio. La scenogra

ia.

(Firenze, 1973)

Federici-Vescovini, Graziella.

Studi sulla prospettiva

mediovale. (Torino:

G.

Giappichelli, 1965)

Friedlaender, Walter, Early to Full Baroque: Cigoii and

Rubens,

Stud ien zur toskanischen Kunst,

Marc

h

1963, (Munich, 1964), pp. 65-82.

Gambuti, Alessandro, Ludovico Cigoli architetto,

Studi e

documenti di architettura, n. 2 ,

pp. 37-136.

Gioseffi, Decio. Perspectiva artificialis.

(Trieste,

957)

Gloton,

Marie

Christine. Trompe l'oeil et

ddcor

plafonnant

dans les Bglises romaines

de

I%gebaroque. (Rome,

l965 , pp. 155-1

60

Golderstein, Leonard.

The Social and Cultural Roots

of

Linear Perspective.

(Mineapolis, Minnesota: MEP

Publications, 1986)

Harries,

Karsten.

Descartes, Perspective and the Angelic

Eye,

Yale French Studies 49,

(1973), pp. 28-42.

Ivins, William M., Jr. tf

& Geometry:

A Study

of

Space

Intuitions

1946). (New York: Dover Publications,

Inc., 1964)

Jay, Martin.

Downcast Eyes: The Denigration of Vrsion in

Twentieth-century French Thought. (Berkeley,

Califomia: University of Califomia Press, 1994)



Kemp, Martin.

The Science of

Art:

Optical Themes

in

Western

Art

from Brunelleschi to Seurat.

(New

Haven: Yale University Press, 1990)

Kemp, Martin. Perspective and Meaning, Illusion, Allusion,

and Collusion, in Philosophy and the Visual Arts.

M. Harrison, ed. (Dordrecht: l987), pp. 255-268.

Krauss,

Rosalind E.

The Optical Unconscious.(Cambridge,

Massachusettes:

he

MIT Press, 1994)

Kubovy, Michael,

The Psychology of Perspective nd

Renaissance

R (Cambridge: Cambridge University

Press, 1986)

Lee, Renssalaer W., Ut Pictura poesis

...,

New York,

1967 ,

originally in

Art

Bulletin 22 (1940), pp.

197-

20.

lorber, Maurizio, Cinedito trattato di prospettiva del Cigoli

e le sue forti, Alte in Fmili aarte a Trieste11,

1

989),

pp. 83-100.

Matteoli, Anna, Un autoritratto giovanile del Cigoli,

MitteiIungendesKunsthistonschen Institutes FIorenl

24, 1

980 ,

pp. 380-385.

Mattedi, Anna, Il Cigoli e le accadernie,' Commentari24

(1973), pp.

2t

7-234.

Montini, Renzo U.,

La

Pinoteca d i MontepuIciano, Arte

Figurativa

5 (1957), n. 5, pp. 25-27.

Newton, Sir Isaac Opticks ora Treatise of the Reflections

Refractiuns Inflections and Culuurs of Light. (New

York: Oover Publications, Inc., 1952)

Panofsky, Erwin. Perspective as Symboiic Form

Christopher

S.

Wood, trans. (New York: Unone,

Inc., 1991)



Pérez-Gomez, Alberto and Louise Pelletier.

Architectural

Representation and the Perspective Hinge.

(Cambridge, Massachusettes: The MIT Press, 1997)

Pérez-Gomez, Alberto and Louise Pelletier. Architectural

Representation Beyond Perspectivi~m ,~erspecta

27, (New Haven, Connecticut: Yale University Press,

1993).

Pérez-Gomez, Alberto and Louise Pelletier.

Anamorphosis:

an Annotated Bibliography with Special Reference

to Architectural Representation.

(Montréal: McGiIl

University Libraries, 1995)

Pericoli Ridolfini, Cecilia, II Museo di Roma, Capitolium

41, (1966), n. 12, pp. 1-24.

Rinville, Marie-Christine, Le décor plafonnant et

le

trompe

l'oeil dans les églises de Rome au dix-septième

siècle, L information d histoire e l art, (1957),

pp.

118-133.

Russel. The Foundations of Geometry. (Cambridge: 1897)

Scolari, Massimo,

La

prospettivagesuiti in Cina,'

Casabella

507, (1 984), pp. 48-51.

Pallasmaa, Juhani.

The Eyes of the Skin:Architecture and

the Senses.

(London: Academy Editions,

1996

Spencer, John

R.,

Ut Rhetorica Picturalm

ournal

o

the

Warburg and Courtauld Institutes

20 (1

957 ,

pp. 26-

44.

Vagnetti, Luigi,

'De

naturali et artificia li perspectiva, Studi

e documenti di Architettura,9-10 , (1

979 , pp.

9 492.

Zucker,

Paul. Die Theaterdekoration des Barock, ein

Kunstgeschichte des Bühnenbildes.

(Berlin,

1

925)



Architectural Sources.

Aa.Vv., Manierisrno, Barocco e Rococo, Atti deli Academia

Nazionale dei

Lincei, Roma

1962,

Publ.

in part:

Getto,

G. l Barocco in Italia, pp.

88-103 and

Cantimori,

O.

W barocca pp. 395-41

7 .

Aa.Vv., 'Realismo, Classicismo e Barocco, Exhibition by

Ministero ltaliano della Pubblica Istruzione, Rome

Dec.

1956Jan. 1957, (Rome:

De

Luca Editori, 195ï).

Aa.Vv., Retorica e Barocco, a cura di

E.

Castelli, Atti del

Ill Convegno Internazionale di Studi Umanistici, 5-

18 June 1954, (Roma, 1955).

Aa.Vv., Roma 1300-1875: La

città

degli Anni Santi, a cura

di

Marcello Fagiolo e Maria Luisa Madonna, (Milan,

1

85).

Alberti, Leon Battista. On the Alt of Building in Ten Books.

Joseph Rykwert, Neil Leach, and Robert Travenor,

transes. (Cambridge, Massachusetts: The MIT

Press, 1988)

Anceschi, Luciano. Del Barocco

e

altre prove. (Firenze,

1953)

Anceschi, Luciano, Cideadel barocco,

Studisulproblema

estetim, (Bologna, 1984).

Argan, Giulio Cario. Architettura Bamcca in Italia. (Milano,

1957)

Aringhi, Paolo. R o m subtemnea novissrna. (Portland,

Oregon: Collegium Graphicum, 1972)

Baroaida

Vignola,

M. Jacopo.

Regola della

Cinque

Ordine

d AahiteItura.

(Venice: 1596)



Battisti, Eugenio. Rinascimento e Barocco. (Torino, 1960

Brandi, Ceasre.

a

prima architettura bamca . (Bari, 1970)

Briggs, Martin Shaw. Barockarchitekur. (Berlin,

191

4)

Carboneri, Nino, Arte in Europa, Scritti

i

Storia dell Arte

in onore di Edoardo Arslan, (Milan, 1966 , p.

737

744

Cattavi, George. L architettura barocca. (Rome,

1962

Coarelli, Filippo. Guida Archeaologica di Roma. (Milan:

Arnoldo Mondadori Editore S.p.A., 1989

Conte, Giuseppe. ametafora barocca. (Milan, 1972

Croce, Benedetto. Storia dell età barocca in Italia. (Bari,

946

Debanné, Janine. Between Reliquary and Cenotaph:

Guarino Guarini s Cappella Santa SicnOne. (Montréal:

McGill University, Master thesis, History and Theory

of Architecture,

1995

Delogou, Giuseppe. L architettura italiana del Seicento e

Settecento. (Firenze, [1930 936

De Rinaldis, Aldo. L arte in Roma da1 Seicen to al

Novecento. (Bologna, 948)

Fag olo, Maurizio-Carandini, Silvia.

L effemero Barocco.

(Rome,

[19n] 1978

Fokker, Timon Henricus. Roman Baroque Art. Oxford,

1938

Formaggio, Dino. Il Barocco in Italia.

(1

960

Frey, Dagobert. Architettura m.Roma-Milano, 1926



Golzio, Vincenzo.

Storia dell Arte classica

e

italiana: II

Seicento e Settecento. Turin, 1935)

Griseri, Andreina. La

rnetamorfosi dei barocco. Tuffn,

1967)

Gurlitt,

Cornelius. Geschichte

des

Barockstiles Italien.

Stuttgart, 18871,

pp.

459-473.

Hager, Werner.

Barock ArchiteMu~

Baden-Baden,

968)

Harrop,

Patrick

H. lnseminate Architecture: an

Archontological Reading

of Athanasius

Kircher s

Turris Babel. Montréal: McGilt University, Master

thesis

History and Theory of Architecture, 1992)

Haskell, Francis.

Patrons and Painters: A study in

the

Relationsbetween ltaiian

Art

and ocietyon the Age

of

the Baroque.

London, 1

963)

Hibbard, Howard. Bernini.

London:

Penguin Books, [1965]

1990)

Kautzsch,

Wolfgang.

ie BaroMheater

im

Dienste der

Kirche: Die Theatralische Raumkunst des

arock

in

ihren Hauptphasen 1550-1790).

Dissertation,

Leipzig,

1931

Lavagnino,

Emilio, Giufio R. Ansaldi

and

Luigi

Salerno.,

Altare barocchi in Roma. Rome,

1959),

pp. 169-

180, 183-190.

Lees-Milne,

James. Baroque in Italy.

London, 1959)

Magni, Giulio. II

b a m o

a Roma

neli architettura e nella

scuHura

decorativa. vorino:

C. Crudo c.,

1911

1913)

Mahon,

Denis.

Studies in Seicento

Art

and

Theory.

London, 1947



Mâle, Émile. L'art après le Concile de Trente: Etude sur

l'iconographie de fin

du

siecle,

du

XVIP, du XVIIP

siecle, Italie, Espagne, Flandres. (Paris, [1932]

1951)

Mâle, Émile. L'arte religiosa ne1 '600: 11Barocco. (Milan,

1984)

Mâle, Émile, La décoration des eglises des grands ordres

religieux an XVII%ecle, La revue de Pans,

1

932),

pp.

33-50.

Maravall, José Antonio. La cultura del barocco. (Bologna,

1

985)

Mariani, Valerio. Le chiese

di

Roma da1XVll alXVIII secolo.

(Bologna, 1963)

Muiioz

Antonio. Roma

barocca

(Milan-Rome, 191

9)

Nebbia, Ugo.

La

pittura italiana de l seicento. (Novara,

1946)

Norberg-Schulz, Christian. Baroque Architecture. (New

York:

H.

N. Abrams, 1972)

Norberg-Schulz, Christian. Late Baroque Architecture.

(New York:

H.

N. Abrams, 1974)

Obaan, Johannes Albertus Franciscus. Documenti su1

Barocco in Roma. (Rome, 1920)

Ojetti, Ugo-Dami, Luigi. A:lante

di

storia dell'arte italiana.

(Milan, 1924)

Palladio, Andrea. Four Books

of

Architecture.

Pérez-Gomez, Alberto. Architecture and the Crisis of

Modem

Science. (Cambridge, Massachusettes:

The

MIT

Press, [1983] 1990)



Perrault, Claude. A Treatise of the Five Orders of Columns

in Architecture. John James, trans. (London: John

Sturt, 1708)

Perrault, Claude. Ordonnance for the Five Kinds of

Columns after the Method of the Ancients.

Indra

Kagis McEwan, trans. and intro.

by

Alberto Pérez-

Gomez. (Santa Monica, California: The Getty Center

for the History of Art and the Humanities, 1993)

Pevsner, Nicholaus, Die italienische Malerei vom Ende der

Renaissance bis zum ausgehenden Rokoko,

Handbuch für KunstwrSsenschafi,

(Wildpark, 1928).

Poensgen, Thomas. Die Denkenmalerei in italienischen

Kirchen. (Bertin, 1969)

Portoghesi, Paolo. Roma Barocca: the History of an

Architectonic Culture. (Cambridge, Massachusetts:

The MIT Press, 1970)

Powell, Nicolas. From orque to Rococo. (London, 1959)

Praz, Mario.

Il giardino deisensi: Studi su1 Manierismo e il

Barocco. (Milan, 1975)

Prijateli, Kruno, Dokumentiz historiju dibrovake barockne

architekture,

Tkelcicevogzbomika: Zbornik radova

posvecenih sedamdeset ogodisnjici Vladimira

Tkalcica2, (Zagreb, 1959), pp. 117-156.

Ratti, Carlo Giuseppe. Delle vite de'pittod, scultori ed

architettigenovesi,vol.

2.,

(Genova, 1769), pp. 329-

330.

Ricci, Corrado. Architettura b mcc in Italia. (Turin,

1

922)

Ricci, Corrado.

II Seicento.

(Rome, 913



Rykwert, Joseph. m e First Modems:

The

Architects of the

Eighteenth Century. (Cambridge, Massachusettes:

The MIT Press, 1980

Sig nolli, Angelo. Bibliografia stonco cntica dell architettura

civile. (Roma, 1791

Tafuri, Manfredo. Teorie e storia dell architettura. (Rome-

Bari, 1968

Tapié, Victor L. Baroque et Classicisme. (Pans, 1957

Tintehot, Hans. Barosktheater und barocke Kunst: Die

Entwicklungsgeschichte der Fest und

Theaterdekorationen in ihrem Verhdltnis zur

barocken Kunst. (Berlin, 1939

Toesca, Pietro. Afreschi decorativi in Italia fino a i sec010

XIX (Milan, 1917)

Vitruvius.

De

Architectura. Fran k Granger, trans.

(Cambridge, Massachusetts: Harvard University

Press,

1983

Waterhouse, Ellis J. aroque Painting in Rome: The

Seventeenth Century. (Florence,

1

93011936)

Waterhouse, EIlis J. ltalian Baroque Painting. (London,

1

962

Weingartner, Josef Der Geist des Barock. (Augsburg,

1925

Weisbach, Werner. Die Kunst

des

Barock in Italien,

Frankemich, Deutschlandund Spanien. (Berlin,

1924

Wrttkower, Rudolf.

rt

andArchitecture in Italy, 1600-1750.

(Harmondsworth,

1958



Woff

lin,

Hugo.

Rinascimento

e

Barocco Richerche intomo

all essenza allbrigine

dello

stile

barocco n ltalia

Florence, 1928)

Voss,

Hermann.

Die

Malerei des Barock in Rom

Berlin,

1925)



Galileo, Descartes, the Jesuits and Other Historical

Sources.

OAgosti, Vittorio, Laappa

di

Parrna deli'lter italicum di

G.W.

Leibniz, Archivio storico p r le province parmensi

44,

(1WS), pp. 91-104.

Andrews, Keith, Letter: Eisheimer and Galileo, The

Burlington Magazine 11

8,

(1W6), p. 595.

Arendt, Hannah. Between Past

and

Future: Eight Exercises

in Political 771ought. (New York: Penguin Books,

[1961] 1993)

Asor Rosa, Alberto. La culfura della Contririforna. Ban,

1

74)

Assunto, Rosario, Un filosofo nelle cappitali dlEuropa, (La

filosofia di Leibniz tra Barocco e Rococo), Storha

dell'arte

3,

(1969 , pp. 296-337.

Barthes, Roland. Sade, Fourier, Loyola. (Paris, 1971)

Battaglia, Felice, Cidea ne1 pensiero Secentesco, Mito

del classicisrno

nel

Seicento, (Messina-Florence,

1964), pp. 13-27.

Battisti, Eugenio, Per un ampliamento del concetto di

Manierisrno, An nali dell'lstituto storico italo-

germanico inTrentu,

3,

(19n), pp. 321-428.

Blumenberg, Hans, Light as a Metaphor for Truth:

At

the

PreliminaryStageof

Concept

Formation, Modernity

and the Hegemonyo Won David Michael Levin,

ed., (Berkeley: University

of

California Press, 1993),

pp. 30 62.

Biisel, Richard. Jesuitenarchitekturin talia:

1540

bis

1773

(Vienna, 1985)



BricareIli, Carlo, II

P.

Orazio Grassi architetto della chiesa

di Sant'lgnazio in Roma, La civilta cattolica

73,

(1

9 Z ) ,

2, pp. 13-25.

Britton, William. A Concise Retrospect of the Jesuit Order.

S.I.: sen.,1889?)

Burkhardt, Jacob. The Civilkation of the Renaissance

in

Italy. (New

York: Harper

&

Brothers, [1929] 1958)

Bûttner, Frank, 'Die altesten Monumente für Galileo Galilei

in Florenz, Kunst des Barockin der Toscana Studien

zur

Kunst unter den letzten Medici (italienische

Forschungen, 1x1, (Munich, 1976), pp. 103-117.

Carteggio Cigoli-Galileo 1609-1613, Bollettino

dell Accademia degli Euteleti22

1

959), pp. 9-92.

Cassirer, Ernst.

The Individual and the Cosmos in

Renaissance Philosophy

Mario Domandi, trans.

(P hiladelphia, Pennsylvan ia: Universtiy of

Pennsyivania Press, 1972)

Cassirer,

Ernst. The

Phiiosophy

of

the Enlightenment. Fritz

C.

A.

Koelln and

James

P. Petlegrove, transes.

(Princeton, New Jersey: Princeton University Press,

1951)

Cassirer,

Ernst.

ymboland

Functron and Einsteh s

Theory

of

Relativity. William Curtis Swabey and Marie

Collins Swabey, transes. (Chicago: The Open Court

Publishing Company, 1923)

Chamberlain, Haniet Feigenbaum, The Influenceof GaliIeo

on Bernini's Saint Mary Magdalen and Saint Jerome,

TheAn Bulletin 59,

1

977), pp. 71

84.

Chappell, Miles, Cigoli, Galileo, and Invidia, The Art

Bulletin

57

1

975),

pp.

91

-98.



Ciardi,

Roberto P. and Lucia Tongiorgi Tomasi,' La 'scienza'

illustrata osservazioni su1 frontespizi delle opere di

Athanasius Kircher e

di Galileo

GaIilei, Annali

dell istituto ston co italo- gemanico in Trento 11

,

(1

985 ,

pp.

69-78.

Cinotti, Mia,

Vita

del Caravaggio: novità 1983-1

988,'

Quademi di Pa lauo Venezia6, (1989), pp. 79-94.

Clavelin,

M.

he

Nafural Philosophy of Galileo.

(Cambridge,Massachusettes:The MIT Press,

1974

Corpus Institutorum: Indexgeneralis in omnes

libros

lnstltuti

Societatis lesu. (Antverpiae: Apud 1 Meursiu

m

,

1635)

Connolly, Brendan Cyril. 73e Floots of Jesuit Libranànship.

(Chicago:

University of Chicago Press, 1955)

D Elia,

Pasquale

M. Galileo in China: Relations through

the Roman College between Galileo and the Jesuit-

Scientist Missionaries (1

10- 1640 .

(Cambridge,

Massachusettes: Harvard University Press, 1

960

Descartes, Rene. Philosophical Writings. Elizabeth

Anscombe and Peter Thomas Geach, transes. and

eds.

(New

York: Macmillan Publishing Company,

1971

Donne,

JOhn. ignatius His Conclave or His lnthronisation

in a Late Eiection

n

Hell. (New

York: Columbia

University Press,

1961

Drake, Stillman.

Copemicus. Phiiosophy and Science:

Bruno

Kepler, Galileo. (Norwalk, Connecticut:

Burndy Library, 1973)

Drake, Stillman. Galileo s Notes on Motion. ((Florence:

Institut0

e

Museo

di

Storia

della Scienza, 1979

fasciolo

2



Drake, Stillman.

Galileo At Work: a Scientific Biography.

(New York: Dover Publications, Inc., 1978)

Edgerton, S. Y Galileo, Florentine 'Disegno,' and the

'Strange Spottednesse' of the Moon, Art Journal,

XLIV, (1984), pp. 225-232.

Descartes, René. Discourse on Method in Phi1osophi;cal

Writings (Leyden, 1637). Norman Kemp Smith,

trans. (New York: Random House, Inc., 1958)

Galassi-Paluui, Carlo, Un bouetto di Alessandro Aigardi

per I'urna di S. lgnazio al Gesù,

Roma: Riwista di

studi e di vita romana

3, (1925),

pp.

17-18.

Galassi-Paluui, Carlo. Stona segreta dellostile dei Gesuiti.

(Rome, 1951)

Galilei, Galileo. Dialogues Concerning the wo New

Sciences.

Henry Crew and Alfonso de Salvio, trans.

(New York: Dover Publications, Inc., 9141 1954)

Galilei, Galileo.

Galileo and

is

Sources:

The

entage of

the Collegio Romano ri, Galileo s Science.

William

Wallace, trans.

Galilei, Galileo. Sidereus nuncius or the Sidereal

Messenger. Albert Van Helden, trans. (Chicago: The

Universityof Chicago Press, [ 6l ] 1989)

Galilei, Galileo. lstoria e dimonstrazione intorno alle

macchie solari e loro accidenti

(Rome, 1613)

in

Discourses and Opinions

of

Galileo.

Stillman Drake,

trans. (New York, 1957)

Galilei, Galileo and Ludovico Cigoli. Carteggio. Matteoti,

ed. [correspondence between Galileo and Cigoli]



Galuui, Paolo, Filippo Brunelleschi: un precursore di

Galileo? FiIr;Opo Brunelleschi, la sua opera e il suo

tempo,

(Florence, 1980), pp. 903-91 3.

Godoli, Antonio and Paolo Paoli, La Villa 'Gioiello' ad

Arcetri,

Annali dell lstituto e Museo di storia della

scienza di ïirenze4, (1979), n. 1 pp. 15-24.

Hallyn, Fernand. The Poetic Structure of the World:

Copernicus and Kepler.

Donald

M.

Leslie, trans.

(New York: Zone Books, 1993)

Hamy, Alfred. Essai sur l iconographie de la Compagnie

de Jésus. (Pans, 1875)

Harris, Neil, Galileo as symbol: the Yuscan artist' in Paradise

Lost,

Annali dell lstituto e Museo di storia della

scienza di Firenze 10, (1985), n. 2, pp. 3-29.

Hazard, Paul.

La

crisi della conscienza europa

1680-1

715 .

(Turin, 1948)

Huemer, Frances, Rubens and Galileo 1604: Nature,

art

and poetry,

Wallraf-RicharttJahrbuch

44 (1983 ,

pp. 175-196.

Ignatius of Loyola. The

Spiritual Exercises of

St.

lgnatius.

Anthony Mottola, Ph.D., trans. (New York: Bantam

Doubleday Dell Publishing Group, Inc., LI9641 1989)

Jarrige, Pierre. A furfher discovery of the mystev of the

Jesuitisme: in a collection of severall pieces,

representing the humors, designs, and practices of

those who cal1 themselves the Society of Jesus.

(London: Printed for R. Royston. 1658-1659)

Judovitz, Dalia, Vision, Representation, and Technology

in Descartes,

Modemity and the Hegemony of

Vision,

David Michael Levin, ed., (Berkeley:

University of California Press, 1993), pp. 63-86.



Kircher, Athanasius. Ars magna lucis et umbrae: in decem

libros digesta: quibus admirandae lucis e t umbrae

in mundo, atque adeo universa natura (Rome:

Sumotibus Hermanni Scheus, ex typographia

Ludovici Grignani, 1646)

Kircher, Athanasius. China illustrata. (Muskogee,

Oklahoma: Indiana University Press, 1987)

(Kircher, Athanasius). Gaspar Schott. Magia Universalis

naturae et artis, siue Recondita Naturalium

&

Articialum rerum Scientia, cujus Ope per veriam

Applicationem. (Bambergae: Sumpt. JO . Martini

Scoenwetteri, Bibliopolae Franco furtensis,

1677)

Kirschbaum, Engelbert, La Compagnia di Gesù e I'arte,' II

quarto centenario della costituzione della Compagnia

di Gesu. Pub. by the Università cattolica del S.

Cuore, fifth series, History of Science 19, (Milan,

1941),

pp.

211-226.

Kowalczyk, Jerzy, 'Le relazioni dei Polacchi con gli artistie

I'arte veneta tra

il

XVI e

il

XVII

secolo,Vttidell lstituto

Veneto di scienze, lettere ed arti 138, 1978 1980),

pp. 497-508.

Koyré, Alexandre. The Astronomical Revolution:

Copemicus,

Kepler,

Borelli. Dr.

R.E.W

Maddison,

trans.

(New

York: DoverPublications, Inc., [l96t]

1992)

Koyré, Alexandre, Attitude esthétique et Pensée

scientifique, Pourun temps,Emin Panofsky, Paris,

1983), pp. 175-1

96.

Koyré, Alexandre.

From

the Closed

World

to

th

lnfinite

Universe. (Baltimore, Maryland: TheJohns Hopkins

Uiversity Press, 1957)



Koyré, Alexandre.

Galilean Studies.

(Hassocks, Sussex:

he H a ~e s te r ress Limited, [1939] 1978)

Koyré, Alexandre. Metaphysics and Measurement. Dr.

R.E.W.

Maddiso, trans. (London: Gordon and

Breach Science Publishers, [1968] 1992)

Longhi, Roberto, Le visite romane del Sandrat a Galileo

ne1

1

33,

Paragone 14, 1

963), pp.

64-65.

Lucchesini, Paolo, Colpi di genio, Bell italia

66,

(1991),

pp.

122-128, 158.

Mann, Heinz Herbert, Die Plasitzittit des Mondes- Zu

Galileo Galilei un Ludovico Cigoli, Kunsthistonsches

Jahrbuch Graz

23, (1987), pp. 55-58

Meijer, Bert W. Disegno dei ver0

O

meno, e I'illustrazione

scientifica,

Wocumentary culture,

Florence and

Rome from Grand-Duke Ferdinand to Pope

Alexander VII. Papers from

a

colloquium held at the

Villa Spelman, (Florence, 1990; Bologna, 1%2), pp.

127-1

39

Merleau-Ponty, Maurice.

The Pnmacy of Perception and

Other

ssays

on Phenomenological Psychology, the

Philosophy of Art, History and Politics.

James

M .

Edie, trans. (Chicago: Northwestern University

Press, 1964)

Müler, Johannes. Das Jesuitendrama in den Ldndem

deutscher Zunge zum Anfang

1555) bis

zum

ochbarock

(1665).

(Augsburg, IWO

Nicholson, Marjorie. Science and Imagination. (Hamden,

Connecticut: Archon

Books,

The

Shoe String

Press,

l

nc., [1956] 1976)



Orlandi, Alessandro and William Russell, cura. Collezione

stnrmenti di Fisica: Liceo E. Q. Visconti- Roma.

(Roma: Euroma, Editrice Universitaria di Roma,

1994)

Ortega y Gasset,

José.

History as a System. William C.

Atkinson, trans. (New York: W. W. Norton and

Company,

[1941]

1961)

Ortega

y

Gasset, José.

Man and Crisis.

Mildred Adams,

trans. (New York: W.

W.

Norton and Company, [1958]

62)

Ostrow, Steven

F.

Cigoli's lmrnacolata and Galilao's Moon

Astronorny and the Virgin in the Early Seicento

Rome, TheArt Bulletin 78,2, (1996), pp. 21 8-235.

Ottani Carina, Anna, On the Theme of the Landscape- II:

Eisheimer

and

Galileo, The Burlington Magazine

118, (1976),

pp.

139-144.

Palud, Cario Galassi. Storia segreta dello stile dei

Gesuiti

(Secret History of the

Jesuit

Style). (Rome, 1951

Panofsky, Erwin. Galileo

as

a Cntic of the Afts. (The Hague:

M. Nijhoff, 1954)

Panofsky, Erwin. More on Galileo and the Arts, Isis,XLVII,

(1956),

pp.

182-185.

Pecchiai,

Pio.

Gesù

di

Roma descntto e illustrato. (Rome,

1

952)

Pericoli-Ridolfini, Cecilia. Roma, chiesa del Gesk (Rome,

75)

Pin , Pietro. Giovanni Tatano e i phord i de1l an:hifettura

gesuitica. (Rome, 1955)



Pitt, Joseph C. GaliIm, Human Knowledge and the Book

of Nature: Method Replaces Metaphysics.

(Dordrecht, Boston: Kluwer Academic Publishers,

1992)

Porta, Giambattista della. Natural Magick. (London: Young

and Speed, 1658) Originally published as Magiæ

naturalis, 1558.

Prijateli, Knino, Barocco romano n almazia

e

l

duomo

e

la chiesa dei gesuiti in Ragusa, Arte antica e

modema 5 ,

1

959), pp. 103-108.

Redondi, Pietro. Galileo Heretic. Raymond Rosenthal,

trans. (Princeton, New Jersey: Princeton University

Press, [198q 1989)

Ripa, Cesare. Baroque and

Rococo

Pictonal lmagery: The

1

758-60

Hertel

Edition of R pa

's

Iconologia

with200

Engraved

illustrations.

Edward A Maser, ed. (New

York: Dover Publications, Inc., 1971)

Rosen, Edward.

he

Naming of the Telescope. (New York:

Henry Schuman, Inc., 1947)

Saltzer, Walter

G.,

Kunst und Wissenschaft komplementâr.

A. Beobachtung und Theorie vom 14.-16. Jh.;

Tradition und Entwicklung. B. Galilei unddieJesuiten

astronomie,Vie

Kunst und

das

Stadium der Natur

vom 14.

zum

75 Jahrhundert, Weinheim, (1987),

pp.

17-40.

de Santilliana, Giorgio. The Crime of Galileo. (Chicago:

The University of Chicago Press, 1 55)

Schmitt, Charles B Experience and Experiment:

A

Compan'son of Zabarella's View with Galileo's in De

Motu, Studies in the Renaissance

16, (1969), pp.

80-1

38



Settle, T. Ostilio Ricci: Bridge between Alberti and Galileo,

Actes Xlle congres international d histoire des

sciences, (Pans, 1968), 111 B, 1971, pp. 121-126.

Shea, W.

Galileo s Intellectual Revolution.

(New York, 1972)

Shea, William R., Panofsky Revisited: 'Galileo as a Critic

of

the

Arts', Renaissance Studies n Honourof Craig

Hugh Smyth,

(Florence, 1985), pp. 481 -492.

Smith, A. Mark. Galileo's Proof of the Earth's Motion from

the Movement of Sunspots,

lsis,W I

1985),

pp

543-551

Speuaferro, Luigi, La cultura del Cardinal Del Monte

e

il

primo tempo del Caravaggio, Stona dell arte(1971 ,

n. 9-10, pp. 57-92.

Tacc hi-Venturi, Pietro. Saint Ignace de Loyola dans

l art

au XVlPet XVIlle siècle.

(Rome, 1929)

Tacchi-Venturi, Pietro.

Stona della Compagnia

di

Gesù

...

1 (Rome-Milan, 1910)

Tolnay, Charles de, Cultimo ntratto di Galileo Galilei,' Studi

in onore di Giulio Carlo Argan,

(Rome,

1

984),

1

pp.

301 -321.

Utz,

Hildegaard, Skulpturen

und

andere Arbeiten

des

Battista Lorenzi,

Metropolitan Museum Journal

7 ,

(1973), pp. 37-70.

Vallery-Radot, Jean.

Le recueil de plans d edifices de la

Compagnie de Jesus conserve a la Bibliotheque

nationale de Paris.

(Rome: lnstitutum Historicum S.

l. 1960)

Wallace, William A. Galileo, the Jesuits, and the Medieval

Anstotle. (Aldershot, Hampshire: Gower, 199



Winternitz, Emanuel, Muses and Music

in a

BurialChapel:

An lnterpretation of Filippo

Lippi's

window waIl in the

Cappella Strozzi, Mitteilungen des

Kunsthistorischen Institutes Florenz

1

, 1 963-65 ,

pp.

263-286.

Wittkower, Rudolf and lrma

B.

Jaffe, eds. BaroqueArt: the

Jesuit Contribution. (New York: Fordham University

Press, 1972)

Wolf, Gerhard, Regina Coeli, Facies Lunae, 'et in terra

pax:' Aspekte der Ausstattung der Cappella PaoIina

in

S.

Maria Maggiore,

Rdmisches Jahrbuch der

Bibliotheca Hertiziana

27-28

1 991 -1 992), pp. 283

336

Yates, Francis A. The

Art

of Memory. (Chicago: The

University of Chicago Press, 1966)

Yates, Frances

A. Giordano Bruno and the Hermetic

Tradition. (Chicago: University of Chicago Press,

1964)