Word & Image Pub Date : 2021-12-13 , DOI: 10.1080/02666286.2021.1927454 Lyle Massey
Abstract
Andrea Pozzo’s larger, more famous frescoes have tended to supercede his small, 1682 corridor outside St Ignatius Loyola’s private apartments in Rome. And yet, the site is more than just a prelude or footnote to his other, grander works in Mondovi, Rome and Vienna. The corridor stands out because it exploits radical disjunctions between perception and belief, subject and frame, and vision and hallucination. The anamorphic elements of the trompe l’œil architecture destabilize and threaten to overwhelm the quadri riportati that track a narrative regarding Ignatius’s life and miracles. Pozzo’s own publications are largely unhelpful for understanding anything more than the frescoes’ technical and geometrical rules. In fact, there is no text that can be used to understand the corridor’s “program.” But the corridor’s frescoes visually and phenomenologically suggest a Jesuit response to Counter-Reformation ideas about truth, sight and miraculous visions articulated through the visual contrasts and juxtapositions of its enclosed representational system. The site is thus a case study for the difficulties Jesuits faced both in distinguishing between different categories of visual phenomena and in policing different responses to them.
中文翻译:
奇术异象:安德烈波佐的圣伊格内修斯走廊
摘要
安德里亚·波佐(Andrea Pozzo)在罗马圣伊格内修斯·洛约拉(St Ignatius Loyola)的私人公寓外的 1682 年小走廊上,往往有更大、更著名的壁画。然而,该网站不仅仅是他在蒙多维、罗马和维也纳的其他更宏伟作品的序幕或脚注。这条走廊之所以引人注目,是因为它利用了感知与信仰、主体与框架、视觉与幻觉之间的根本性脱节。trompe l'œil建筑的变形元素破坏了四边形建筑的稳定性并有可能压倒它追踪关于伊格内修斯的生平和奇迹的叙述。Pozzo 自己的出版物在很大程度上对理解壁画的技术和几何规则以外的任何事物都没有帮助。事实上,没有文字可以用来理解走廊的“程序”。但走廊的壁画在视觉上和现象学上都表明耶稣会对反宗教改革思想的回应,这些思想通过封闭的表现系统的视觉对比和并置来表达。因此,该网站是耶稣会士在区分不同类别的视觉现象和监管对它们的不同反应方面所面临的困难的案例研究。