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Da sinistra verso destra, dall'alto verso il basso: Giotto, Il Banchetto di Erode, 1320-1325, pittura a secco, Basilica di Santa Croce, Cappella Peruzzi, Firenze; Spinello Aretino, Il Banchetto di Erode, 1385, tempera su tavola, Szépmûvészeti Múzeum, Budapest; Donatello, Il Banchetto di Erode, 1423-27, rilievo in bronzo, Battistero di Siena; Masolino da Panicale, Il Banchetto di Erode, 1435, affresco, Battistero di Castiglione Olona; Benozzo Gozzoli, The Feast of Herod and the Beheading of Saint John the Baptist, 1461-1462, tempera su tavola, National Gallery of Art, Washington; Domenico Ghirlandaio, The Feast of Herod, 1485-1490, affresco, Cappella Tornabuoni, Santa Maria Novella, Firenze; Peter Paul Rubens, Banchetto di Erode, ca. 1635 38, olio su tela, National Galleries of Scotland, Edimburgo.
Source publication
The paper presents the results of the analysis of the perspective-based space painted by Filippo Lippi in order to accommodate his rendition of the Feast of Herod in the Duomo of Prato. Once the perspective’s coordinates have been identified, the orthogonal projections of the plan and sections of the painted architecture were obtained through geome...
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Leonardo da Vinci (1452–1519) is a key artistic and scientific figure of the Renaissance. He is renowned for his science of art, taking advantage of his acute observations of nature to achieve striking pictorial results. This study describes the analysis of an exceptional sample from one of Leonardo’s final masterpieces: The Virgin and Child with S...
Citations
“Entering” a canvas to examine and learn about the work from unexplored points of view is an experiential “journey” in an environment reconstructed through the use and integration of innovative technologies, such as descriptive geometry and digital photogrammetry, solid modeling and immersive photography. Generating a “sense of presence” in the viewer means connecting it with immediacy to the artist’s message and grasping even the most subtle elements of the painting that are difficult to understand, such as architectural inconsistencies or the play of perspectives that, very often, bring out the situations scripted, characterized by discoveries that prelude to the aesthetic pleasure as the multiplicity of meanings and the “stylistic overcoding” of the work is revealed. The research hypotheses were applied to a case study, or to the splendid “Last Supper” by the Flemish artist Gaspar Hovic, a canvas painted in oil (late 15th century AD) and kept in the Matrice SM Veterana Church di Triggiano (BA), where the representation of the suggestive moment of Jesus with the Apostles is carried out through numerous symbols, in an evocative architectural context rich in details. The pictorial subject provides a series of very interesting ideas suitable for research of the role of perspective. The inverse method of linear perspective was used to reveal the plants and sections corresponding to the perspective space of the painting, used as the basis for the reconstruction of the 3D model of the entire scenic composition. Although the painting represents the apparently rigorous application of the perspective technique, by “entering” the canvas it is possible to observe some exceptions to the geometric rules deliberately introduced by the artist, thus making the perspective restitution process an effective interpretative act of the work.
