This article delves into the captivating world of visual representations, with a specific focus on intricate inlaid depictions intricately crafted from the exceptional material of wood. The primary focus is on the wooden intarsia located in the sacristy of the Certosa di S. Martino in Naples, originating from the late 16th to early 17th centuries. Despite often being overlooked, these artworks stand as the final instances of perspective intarsia, signifying a pivotal shift in artistic taste. The research employs a meticulous method grounded in the principles of perspective rectification process, offering a structural and formal interpretation of the buildings and urban spaces depicted in the inlaid images. Through this procedure, the peculiarities of St. Martin’s inlays are brought to light, which, departing from the perspective canons of the 15th century, align intriguingly with the pictorial taste of the 16th century, presenting a distinctive manifestation characterized by the imaginative elaboration of the genre. The meticulous historical and critical examination, guided by a geometric interpretation, not only underscores the technical excellence of these depictions but also establishes a clear link to the works of the Frisian perspective maestro, Hans Vredeman de Vries.
The Influence of Hans Vredeman de Vries on the Inlays of the Certosa di San Martino in Naples.
Stefano Chiarenza
2025-01-01
Abstract
This article delves into the captivating world of visual representations, with a specific focus on intricate inlaid depictions intricately crafted from the exceptional material of wood. The primary focus is on the wooden intarsia located in the sacristy of the Certosa di S. Martino in Naples, originating from the late 16th to early 17th centuries. Despite often being overlooked, these artworks stand as the final instances of perspective intarsia, signifying a pivotal shift in artistic taste. The research employs a meticulous method grounded in the principles of perspective rectification process, offering a structural and formal interpretation of the buildings and urban spaces depicted in the inlaid images. Through this procedure, the peculiarities of St. Martin’s inlays are brought to light, which, departing from the perspective canons of the 15th century, align intriguingly with the pictorial taste of the 16th century, presenting a distinctive manifestation characterized by the imaginative elaboration of the genre. The meticulous historical and critical examination, guided by a geometric interpretation, not only underscores the technical excellence of these depictions but also establishes a clear link to the works of the Frisian perspective maestro, Hans Vredeman de Vries.I documenti in IRIS sono protetti da copyright e tutti i diritti sono riservati, salvo diversa indicazione.