The Beheading of John the Baptist (1607-8), the work carried out in Malta, is certainly an important hermeneutical key to understanding not only of the last production of the pictorial Caravaggio but also of his early paintings.
The Beheading of John the Baptist, as we know, is the largest painting that Caravaggio ever painted. In this work is the vastness of architectural space, with its horizontal and circular shapes and dominates the scene, which seems to be in an ideal stage of a theater of cruelty imagined and created by Antonin Artaud only a few centuries later.
In this stage, the background is made up of high outer walls of a prison. The climax takes place for just before his front door. On the ground lies the body of the weir Baptist. The executioner bent over him he holds his head steady with your right hand with a knife and challenged in the left, held behind his back, preparing to clean off his head. The young man bends over Salomé concerned for the executioner handing him a wicker basket. The jailer with the keys to your belt and on the ground staring point the finger of the left towards the basket in the act of ordering the final phase of the beheading of the saint and the destination of his head.
In this stage, the background is made up of high outer walls of a prison. The climax takes place for just before his front door. On the ground lies the body of the weir Baptist. The executioner bent over him he holds his head steady with your right hand with a knife and challenged in the left, held behind his back, preparing to clean off his head. The young man bends over Salomé concerned for the executioner handing him a wicker basket. The jailer with the keys to your belt and on the ground staring point the finger of the left towards the basket in the act of ordering the final phase of the beheading of the saint and the destination of his head.
An old home of the young princess in horror before the scene of butchery, which appear before, with his hands holding his head about to falter. His is the only reaction of dismay before the merciless cruelty of execution. Two prisoners, finally, curious protrude from behind the grates of the prison to witness the scene of the beheading. Among all these characters in the play, however, there is only one exchange of looks. All eyes are firmly on the ground, soil, where it lies prostrate on the victim whose face expresses unspeakable suffering. The blood leaking from the neck semitroncato of the saint, as the center and almost on the verge of a lump under the framework of a pinkish liquid. From this pool of blood seems to draw Caravaggio per firmare la sua grande opera.
La firma notata da qualcuno solo agli inizi del 1900 (2), venne tuttavia scoperta durante le operazioni di restauro della tela nel 1955-6. Tale firma, ridotta al solo nome di battesimo, strana, inquietante è forse l'indizio di un segreto, di un patto iniziatico e misterioso, inerente all'ammissione all'ordine Gerosolimitano dal momento che tale ordine, quello dei Cavalieri di Malta, aveva un culto particolare just for the Baptist.
This signature, however, still shows something very compromising that only he could seal a pact of blood. Signature of this still very strange that today is readable is reduced to only seven letters, which form as Michel preceded by a sign which has been commonly interpreted as an 'f'. According to this interpretation, the letter 'f' would be for "fecit" or "brotherhood." As Michele would then be followed by one or more abrasive characters and indecipherable.
To return to the scene of the picture well someone said that it is the first of modern tragedy. darkness not only physical, palpable but also symbolic of the prison walls the only light that falls on strong sloping base myself at the base of the painting is one that illuminates the tops of half-naked bodies of the jailer and the victim. So in this light that illuminates the scene of a cruel beheading of John the Baptist seems therefore to have a metaphysical meaning that certainly can not be sought in the intervention of divine grace. And yet the sharp contrast between the darkness of the prison and the outside light it, illuminating the horrible execution of the executioner makes you that this light cone (the first hours of dawn?) Is preferred in the dark depths in which are surrounded by two prisoners who observe from behind the grate. This light symbolic external to a dark prison, however, is not the light of salvation but that instead of a supernatural plan which, while illuminating the dark matter does not exclude but includes the duality, which is the evil at work and reigns over this world in which we are all imprisoned and from which we posted in a violent, traumatic death in order, the will of the Demiurge which is the jailer of our soul.
This is the occult truth, gnosis secret that lurks in the big picture of the beheading of John the Baptist, a work signed - do not forget - with the color of blood and with a name Michael , Whose letters in the computation as cabalistic damage totals the number 22, an emblematic figure in the positive sense of personality and superb in the negative sense of the Master of Black Arts. (3)
This is the occult truth, gnosis secret that lurks in the big picture of the beheading of John the Baptist, a work signed - do not forget - with the color of blood and with a name Michael , Whose letters in the computation as cabalistic damage totals the number 22, an emblematic figure in the positive sense of personality and superb in the negative sense of the Master of Black Arts. (3)
Of these limbs just the picture in question is a test where you can find precise numerical correspondences between the different sides and a symbolic representation in pictorial composition.
In fact in a plane of matter, represented on the right side of the painting from number 2 (the two prisoners in the prison dark) corresponds to the floor of a heavenly world represented by 5 consists of odd and even numbers (the two figures the three female + male figures).
This plan mercurial as part of the two natures in the one has its center vertical axis of the picture, represented by the jailer, who directs the drama on which all eyes are focused. He has taken orders the execution while everyone seems to bend to his will. The work in the pictorial representation of a plant's theatrical shows, therefore, a director after the director but also disturbing aspects of a "second sight", had a premonition of his imprisonment by the artist on the painting in the same prison (4) and its evasion by means of two ropes dropped from the high prison walls.
In the painting, therefore, a kind of ringing alarm bell for the painter's life in danger. It is indeed in view of this warning that we must be careful to understand that one signing that Caravaggio has placed only on his largest painting.
At this point, however, might wonder whether the emphasis on the inversion of the artist's name in the feminine is just a signature or something else. About one might think in fact that by such signature Caravaggio intended to project or rather reveal his soul and the shadow (5) in that it contains the darker side of his personality.
In the rigor of the composition characterized by pictorial representation a stage of solid architectural structure in which a dramatic action takes place is balanced by precise numerical correspondences such a signature would appear to be the only right given impulsive emotionalism that betrays his obsessive possessive or worse.
of this "possession", which, in a sort of psychosis may have taken the form of a demonic schizoid internal perception, Caravaggio, now in the grip of fear, the fear seems to have had a full knowledge albeit distorted by terror. (6)
The disturbance of consciousness resulting in a demotion, provided that there has been, is due to this state of panic. Hence the rise nell'artista della premonizione, ossia di un fenomeno sincronico acausale, che lo avrebbe spinto a lasciare una traccia, nel suo dipinto, dell'imminente pericolo mortale.
Tale traccia camuffata da una firma non sarebbe altro che un certificato di morte: il suo.
Caravaggio, a nostro avviso, contro tutto quanto si è sostenuto sin'ora a riguardo, in realtà non firma un quadro bensì una lapide facendo in essa precedere il suo nome da un semplice segno di croce. È possibile allora leggere questo segno accanto al nome alterato di battesimo non solo come un segnale per la vita incerta, in pericolo dell'artista bensì anche come contrassegno dello stato, per così dire, mortale of his soul. (7)
Caravaggio's identification with the saint in the scene of the picture is being taken off our eyes, then takes on a deeper meaning of what is commonly attributed only by taking into account the fact and expected life of the artist hung a notice capital (9), as several clues obtained, as we shall see, in particular the examination of his last works, make us suspect that the Lombard master, perhaps to protect the Murder Ranuccio Tommasoni, he ended up contracting a sort of diabolical pact, betting, as they say, the head with the devil by signing and therefore his conviction to death for eternity.
What Caravaggio hanging out with the rest of the occult sciences we learn directly from the testimony of his works. these scientists had to be initiated by the artist in fact Cardinal del Monte, where the oil frescoed ceiling of his cabinet alchemy. The Cardinal himself noted in the artist certainly had a sort of preparation for the occult as a result of the implementation of these in the house of Monsignor Petrignani of the painting La Buona Ventura , of \u200b\u200bwhich for another one bothered to commission a copy.
is mainly in another work, also commissioned by the Cardinal himself, St. Francis receiving the stigmata, that Caravaggio having to care for a person to represent it ends in mystical esoteric, the pictorial realization of a materialization mediumship ' intense visionary ecstasy.
In fact, in this work on the very left of the picture is hidden in the darkness a small figure of a monk sitting , nestling at the foot of a tree and melancholy attitude. (8) The first in this small figure in the shadow and the background is not known even at the outset, that materializes a kind of cross of light, formed by the saint's body lying in the diagonal and the angel that supports it.
Little Brother melancholy, freed from the senses, all wrapped up on itself in the contraction of his figure dwarfed by being wrapped in his inner world that seems to alienate it from external reality, material, visible, yet in a state of passivity and depression, is seized by an intense visionary ecstasy, inspired not only by Saturn, astral demon as powerful, but also by the angel of Saturn, an androgynous spirit of the powerful wings similar to those of the time, which appears in an external projection attitude to lift your torso off the ground and the head of the saint in a swoon.
Always in the background of the picture you see strange and mysterious glow, which appear to brighten, fade away into the surrounding darkness and into the distance. Gleams that maybe these are just ectoplasmic remains bright, the fluidic material that has materialized the vision, the source of energy closer can not be detected in the small seated figure of the monk and almost hidden in the shadows under the tree.
From this perspective, the real subject of the investigation framework is therefore the inspired melancholy , who took an intense visionary ecstasy (9), is also able to show precisely fuori di sé la sua visione mistica.
In due successivi dipinti dedicati ancora a San Francesco Caravaggio nell'esecuzione di una doppia versione, l'una proveniente dalla chiesa di San Pietro di Carpineto Romano, l'altra dalla chiesa di S. Maria della Concezione di Roma, sembra essere risalito ad una antica tradizione inaugurata, a quanto pare, da Giotto. Secondo Cecco d'Ascoli (10) infatti, Giotto avrebbe pure dipinto due uguali rappresentazioni di uno stesso santo, eseguite tuttavia in ore diverse del giorno ossia sotto una diversa configurazione astrologica, allo scopo di far confluire in esse una diversa virtù o influenza celeste. 
Nell'esaminare pertanto il soggetto della duplice versione, San Francesco in orazione, non possiamo non considerare il fatto che nel quadro di un rinnovamento spirituale rappresentato dal movimento francescano l'alchimia non poteva non costituire in esso un interesse di certo non irrilevante. (11)
Questo interesse è quel che Caravaggio artisticamente cerca di mettere a fuoco nei due dipinti sopraddetti.
Nella rappresentazione dunque del santo che in ginocchio contempla un teschio tenuto tra le mani non ci sfuggono infatti altri elementi particolarmente significativi, che partendo dal basso verso l'alto della composizione pittorica, così possiamo distinguish: 1 cable inside a rock, resting on the ground and in darkness, 2nd cross resting on a stone, 3rd a skull kept in hand by the saint, which is the brightest object in the context of both painted versions.
From our review is therefore that the occiput, the skull in the hands of the saint, which is at a higher level of raw material (stone quarry inside and still dark) not only is the real philosophical vessel, in which is the task of alchemical transmutation, but must be identified with the philosopher's stone, the source of all magical vision and lighting, was almost precisely a crystal ball.
Only as stripped from its heaviness and "land" through the cross (symbol of the fifth essence) this sphere bone hollow inside, can be symbolically raised from the ground to become the object of spiritual contemplation mirror.
In another beautiful painting, from the Museo Civico di Cremona , the St. Francis in meditation, the saint is portrayed on his knees with his head tilted to the left in the act of turning his gaze down to three items his meditation on the crucifix, a book held open by the arms of a cross, a skull on which the left side of the volume.
Proximity the three objects is certainly the most emblematic figure of the painting. On it focuses the attention of the facts of the saint and ours. In this contiguity is the Christ-Lapis (12), who opens the pages of black and white of alchemical knowledge, which in turn is a philosophical base of support on the vessel or on the skull.
In our observation are the brooding figure of the saint who turns his gaze downward, toward the field of knowledge, no surprise really. The look on his face is indeed sad, pensive. In this brooding melancholy his wide forehead appears to us then corrugated with wrinkles. Throughout his body finally wearing a threadbare habit wide sleeves, which lascia scoperto solo il capo e le mani intrecciate, serpeggiano tra le pieghe della veste e i tratti dell'incarnato le stesse luci ed ombre di quel libro aperto, le cui pagine luminose ed oscure costituiscono forse le diverse fasi dell'operazione alchemica o, se si vuole, i diversi aspetti, lati, piani di un sapere ermetico, avvolto nel mistero.
E' dunque sullo sfondo oscuro di un tale sapere o di una filosofia occulta (16), che occorre situare l'opera in particolare dell'ultimo Caravaggio se di questa si vogliono davvero intravedere gli aspetti magici, esoterici, sorprendenti, di cui abbiamo in parte parlato esaminando, ad esempio, il dipinto Il sacrificio di Isacco, realizzato, it will be remembered in two versions, one at dawn, dusk and the other to try to discover who still speaks of the resurrection of Lazarus.
In this large painting we had first hit the dark side of Christ and the look of some of the characters depicted in it, which turns to look at someone or something that operates alongside or behind him
Very impressive then it seemed an open hand and raised Lazarus, from the realm of the afterlife that seems to react to the command of Jesus in the necromantic count characters of the painting in question had yet discovered, not without some difficulty, they are thirteen, and this fateful number well look at all strano nel contesto del dipinto.
Il numero 13 infatti rappresenta una rottura di livello, un cambiamento di stato ontologico, un elevamento ad un piano superiore. Nei tarocchi, ad esempio, la tredicesima carta è la Morte, che nel senso suddetto può significare una rinascita spirituale, un passaggio ad un nuovo e superiore stato ontologico, una resurrezione.
Da un testo gnostico ritrovato recentemente, Il vangelo di Giuda (13), apprendiamo inoltre che il 13 è il contrassegno del "traditore", ossia la cifra di Giuda. Per comprendere tuttavia il significato di questa cifra, che si eleva al di sopra del 12, bisogna partire da una concezione gnostica origin of the world exposed in this gospel. According to this view the true transcendent God would have put 12 angels ruling the world. Of these governors of the twelve apostles of Jesus as nothing more than their earthly reflection. (14)
In designating Judas as the thirteenth spirit, Christ is telling us then that the "traitor" is beyond or outside the club, group, or rather the circle of the twelve. In this sense, the 13 indicates a different reality than the one ruled by earthly rulers.
This reality on the other, from the world, this phenomenal reality beyond space-time dimensions that is beyond the circle of the zodiac or the universe at that time known, is one of the Great Invisible Spirit. (15)
the avoidance of doubt we must say here that our artist certainly has nothing to do with the Gospel of Judas, found the rest in 1970 in Egypt.
A Caravaggio, however, that, as we saw in part, was also a student of the occult sciences, but could not avoid the cosmological concept clearly expressed in that gospel as through Gnosticism probably it had been conveyed in ' bed of the river still Karst, represented by the esoteric culture.
That was the Lombard master then surely the first experiment in painting Op Art (16) never attempted before in the history of art. In describing this phenomenon, however, we must return to the scene of the enigmatic painting, where at least three of the characters represented, including two necrofori she turned round to the left to look at something or someone next to or behind that Christ, whose dark face can not be curious.
Because in fact - we can not help but wonder - in operating a miracle or a necromantic spell Jesus is or is better represented by Caravaggio in the shade? What is the hidden meaning of this shadow?
That Jesus is a reincarnation of a "black god" Osiris (17) is only a suggestive idea that comes to mind when thinking about the common destiny of death and resurrection of the two deities.
In this darkness of Christ's face but there is the other that compels us to investigate in a cultural terrain not so distant in space and time as the legendary Egypt but in a contiguous territory which the Renaissance when it was created by Dürer's famous engraving of Melancholia I.
if I remember correctly also the face of Melancholy depicted by Dürer, absorbed in intense visionary ecstasy, is darkened by shadow dark without ever has been able to explain fully the reason, that meaning, which certainly goes looked beyond a temporary state of depression or mood black.
In De umbris idearum Giordano Bruno, therefore we have found something that can provide the solution of the mystery. The shadow of talks which Bruno is obviously not one in which it is believed that the Leviathan sleeps, but that "that leads to light and that, although it is not truth, however, stems from the truth and stretches towards the truth." This fact is the shadow that contains "the concealment of the truth" and "alluded to the Kabbalists, as the veil that was placed second type and representation on the face of Moses - and figuratively overshadowed the face of the law - should not deceive the 'eye of men. "(18)
According to this conception of the shadow of Neoplatonic derivation obscure the face of Christ in the Resurrection of Lazarus and his face darkened Dürer's Melancholia I would not have any meaning other then to but not off guard and keep that light metaphysics that we are given only to observe, in our very limited condition of being mortal, only in such a state of concealment and darkness.
In parole povere ed in altri termini dell'opera prodigiosa di Cristo e dell'estatica contemplazione della Melanconia I noi possiamo osservare nell'espressione del loro volto oscuro non tutta la potenza della loro arte magica e/o negromantica che finirebbe per abbagliarci e renderci ciechi bensì quel tanto che può sopportare la nostra vista assai limitata. Quell'ombra essendo costituita dalla produzione di energia magnetica dovuta alla densità, alla condensazione, all'ispessimento della materia pensante, che sola può verificarsi in una straordinaria concentrazione mentale.
Una tale ipotesi interpretativa tuttavia per quanto verosimile non esclude il fatto che in the Resurrection of Lazarus we are witnessing, in a sort of deliquium solis, constituted a sort of eclipse from the darkness of Christ's face caused by the presence of a "invisible" that lies behind it. It is this figure that we have found the thirteenth character of the painting belonged to another reality of being. A character whose only face than all the other characters is portrayed by Caravaggio in a very nuanced and changing colors to a greater or lesser overexposure of light that causes it to appear in the first case without any difficulty to the viewer as precisely in a photographic reproduction and the second can also hide a sharp eye and careful. This is the optical effect Caravaggio introduces a totally unique in the history of painting and on which there appeared to have been never investigated by even the greatest experts in the field.
thirteenth But who is this character? Who is? How did we find it?
to these questions will try to answer as simply through observation. When we look at it this thirteenth character looks like an old wrinkled face is right next to Christ, but behind him, so coming up, counting from the left side of the picture painted in the fourth figure in the composition of quadro. Se il quattro tuttavia non è nel computo cabalistico che la somma del 13 ossia di 1+ 3 e se il numero tredici indica, come abbiamo detto un passaggio ad un nuovo e superiore stato ontologico, questa figura di vegliardo non può non avere a che fare con il Grande Spirito Invisibile. L'aggettivo grande infatti deve essere inteso come in francese ad esempio nel termine grand-pére (nonno) nel senso per l'appunto di anziano. L'Anziano infatti di cui qui parliamo non è altro che Dio, il biblico vegliardo di cui parla Daniele (Dn, 7,9; 7,13; 7,22;).
È all'epifania di questo Dio biblico o di questo tredicesimo spirito (δαίμον) che guardano in particolare i due necrofori who open the hatch of an underground tomb and a third figure behind the two, represented in the picture? Why just the necrofori among all the other characters in the painting would look to the epiphany of the Great Invisible Spirit? What a strange connection, there is correspondence between these manifestations of the supernatural order and the abyss to which they are throwing open the next? What people have seen the latter at the bottom of the abyss, which prompted them to look back in a sudden?
prefer not to answer these questions, except to say that only the resurrection of Lazarus is feverish work with the cross of light comprises only a corpse, that di Lazzaro, ed un'oscurità sepolcrale che sembra poi condensarsi in maniera particolare sul volto ombroso di Cristo. Un'oscurità questa che non trova pertanto una completa e soddisfacente soluzione rimanendo per noi il grande dipinto messinese una delle opere più inquietanti ed enigmatiche di quell'ultimo Caravaggio, che più volte - ci sembra - durante la sua vita aveva letteralmente perso la testa scommettendola forse con il Diavolo.
Quella stessa testa, staccata dal tronco, che il maestro lombardo rappresentò in un altri celebri dipinti del suo Davide e Golia in diverse versioni, la prima delle quali è quella del museo del Prado (1596-/7) e l'ultima la più virulenta è quella (1609) della Galleria Borghese, showing his dramatic self-portrait, first performed by him with a feeling of horror and disgust.
Notes
1) read about the anxiety of Caravaggio in The Weekly Bagheria No. 277, January 6, 2008
2) "V. Sacca (1906-1907), detected in the blood of the signing of the Baptist Caravaggio , we propose a self-portrait of the saint in the head." Quote from the catalog of the exhibition "Caravaggio. The image of God." Ed. RomArtificio, Rome, 2007 to pag. 253.
3) La lettura del numero 22 che noi abbiamo preferito dare è tratta dal libro La Magia Nera di Richard Cavendish, ediz. Mediterranee, Roma, 1972
4) È assai strano che del reato per il quale Caravaggio fu imprigionato nelle carceri di Malta non si trovi alcun documento presso l'archivio dell'Ordine di Malta, custodito presso la Biblioteca di La Valletta. Due documenti riguardanti il primo un procedimento per l'espulsione dell'artista dall'Ordine di Malta (20 novembre 1608) che si conclude con la sua effettiva espulsione dall'Ordine (1 dicembre 1608) ed un secondo riguardante un incarico affidato dal Gran Maestro dell'Ordine a due confratelli for the search of Caravaggio after his escape to be found in Liber Conciliorum Vol 103, c. 32, c. 33-34 and c. 13 at 's Stock Order of Malta Library, Valletta.
5) For a close examination of the comprehensive concept of soul and shadow refer the reader to the pages of Jung in "The Shadow" and "the syzygy: Anima and Animus." These pages are contained in the volume Aion. Research on the symbolism of the Self, ed. Boringhieri Bollati, Torino 1997.
6) fear of Caravaggio during his last period of his life have already discussed in our previous article entitled "Caravaggio's concern, citing a source" Life of 'painters Messina "by Francesco Susinno
7) F. Plum always in his book" The life of 'painters Messina "relates the following story on" unconventional life "by Caravaggio:" Having to buy a painter, so our gra fame guadagnansi also a lot of money that dissipated in valenterie and revelry, he was a daredevil and litigation, and what is worse, little was appearing pious. One day came with some decent people in the church of Our Lady of the pylorus, who became the first of these below most civilized in order to prepare holy water, he domandatogli to what was for, glifu responded to clear the venial sins do not need! Him said, because mines are tutti mortali. L'aver voluto altresì fuor della sua professione andar questionando le cose della nostra sacrosanta religione, gli dà taccia di miscredente, quando che gli stessi Gentili hanno mostrato una gran modestia ne' misteri di essa."
8) Nella figura del frate in ombra si è cercato comunemente di individuare fra' Leone. Tale individuazione ci sembra alquanto discutibile giacché nel dipinto tale figura è immersa completamente nell'ombra tanto da passare d'acchito inosservata. Sfugge invece ai critici il rapporto tra l'atteggiamento assorto, pensoso del piccolo frate e quel che in primo piano inequivocabilmente l'artista ha voluto dipingere come il contenuto di una visione mistica.
9) Secondo il vocabolario di lingua italiana, compilato da Nicola Zingarelli, l'estasi dal greco έκστασις indica l'escesso (l'uscita), l'essere fuori di sé. Quel che osserviamo in primo piano nel quadro in questione e che non può essere scambiato come una rappresentazione della realtà è per l'appunto una proiezione esterna o meglio estatica della mente del piccolo frate celato nel buio.
10) "... due figure d'un beato santo:/d'ugual bellezza presso al viso nostro / fatte per Giotto, dico, in diverse hore..." I sopraddetti versi si trovano nell'Acerba, un componimento poetico di Cecco d'Ascoli, poeta occultista medievale. Vedasi il libro di Anna Maria Partini e Vincenzo Nestler "Cecco d'Ascoli", ediz. Mediterranee, Roma, 2006 a pag. 48.
11) A riguardo si legga il capitolo decimo di Storia e segreti dell'alchimia di Paolo Cortesi, ediz. Newton&Compton, Roma, 2002. Ricordiamo qui brevemente che alchimisti furono i francescani Frate Elia da Cortona, Bonaventura D'Iseo, Giovanni da Rupescissa, Arnaldo da Villanova, Ruggero Bacone e Raimondo Lullo.
12) Sul Cristo-Lapis rinviamo il lettore in particolare al capitolo quinto di Psicologia ed, Alchimia di Jung, intitolato per l'appunto "Il parallelo Lapis. Cristo", pag 333-413 Selected Works of CG Jung, vol 12, Hogarth Press and Bollati, Torino, 2001.
13) The discovery of the Gospel of Judas is the most comprehensive book to Heberty Krosney, The Lost Gospel, Gruppo Editoriale L'Espresso, Rome, 2006.
14) "The actual meaning of the number twelve is true that God has placed twelve angels to rule the nether world, and thus represent the twelve disciples on earth, the number of their 'God' in heaven." Quote from The Gospel of Judas found Elaine Pagels, Karen L. King, ed. Mondadori, Milano, 2007
15) The Great Spirit Invisible refer a famous Gnostic text The Gospel of the Egyptians, assigned by Doresse this title and that according to an expert on the subject, which Louis Moraldi would have been better titled "The sacred book of the Great Invisible Spirit," taking the name from its colophon. The Gospel of the Egyptians is found in Gnostic texts by Luigi Moral, ed. UTET, Torino 1997.
16) The Op Art was in the mid 50 to 60 one of the trends in contemporary art. This trend created compositions in which, for example, obtained by moving the viewer different visual effects. The principle of "Gestalt ambiguity" on which these works were most often set consisted of possibility of "double or multiple reading" of the same visual pattern. This possibility of a different and changing modes of perception in some way inherent in the formal structure of the composition took Umberto Eco who coined the term for it to open work.
17) "In the temples of Egypt, where the candidate was about to pass the tests of initiation, a priest approached and whispered in his ear this mysterious phrase:" Remember that Osiris is a god black! " Quote from Fulcanelli, The Mystery of the Cathedrals, ed. Mediterranean, Rome, 1972, page. 89
18) Quotes from Giordano Bruno, De umbris mnemonics in idearum Works, ed. Adelphi, Milano, 2004.
taken from LINK
taken from LINK
REBUS (tv) - An examination of the video masterpiece Caravaggio
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