| Popis: |
Like Ptolemy in his Planisphaerium had studied the perspective of the circles of a sphere, thus Commandino in the Commentarius had sought the representation, on a given surface, of an object in whatever way it appears to the eye. The result is an exhaustive repertoire of forms and models that even the artists could draw on. In this sense, one in particular of the three tondi painted by Paolo Caliari known as Veronese for the Marciana Library is an emblematic example. My analysis, which is based on the recognition of a significant point of contact between the respective languages of perspective and the arts of visual representation, aims to illuminate specific formal characteristics and the internal coherence of the composition in Veronese’s painting. |
