sborník

Antonina Żaba
In S. Ignazio Church, Rome, POZZO made a picture of such dome
(fig.4). He was criticized both by POZZO (see [3/p.40]), and our
contemporaries [5]. The picture was painted on canvass and hung on the
crossing between the aisle and the transept. In the flat picture there are, no
“column deformations” characteristic for the vault quadratures. The
observer involved in the game of “distorting and straightening of columns”
is here out of the question.
3 Conclusion
In the Lexicon, apart from the general description of anamorphs, there is
information that in addition to flat anamorphs there are ones on cones,
cylinders, spheres. Vaults are most frequently fragments of cylindrical
surfaces. This is an additional argument confirming the thesis that vault
quadratures are anamorphs.
References
[1] BOGALECKI, P.: „Winne tu chyba optyczne złudzenie...” Szekspir
– prawda – anamorfozy , „Antoropos”, Uniwersytet Śląski 2005.
[2] BALTRUSAITIS J.: Anamorphic Art, CHADWYCK-HEALEY
LTD, Cambridge 1977.
[3] COLE A.: Perspektywa, Wyd. Dolnośląskie, Wrocław 1993
[4] FOLGA-JANUSZEWSKA D.: Wprowaadzenie do zagadnień
przedpozzowskiej perspektywy iluzjonistycznych malowideł
ściennych, [in:] „Biuletyn Historii Sztuki“ nr 2/1981.
[5] GARCIA-SALGADO, T.: Anamorphic Perspective & Illusory
Architecture, [in: Internet].
[6] MARKOWSKI, M. P.: Pragnienie obecności: filozofia
reprezentowania od Paltona do Kartezjusza , Gdańsk 1999.
[7] POZZO A.: Perspectiva pictorum et architectorum. Rome, 1693-
1700.
[8] SJÖSTRÖM I.: Quadratura. Studies in Italian Ceiling Painting,
Acta Universitatis Stockholmiensis, Studies in the History of Art.,
XXX, 1978.
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