Abstract

This article analyses and tests the analytical iconology theorised by Hubert Damisch during the 1990s. The analysis of the text A souvenir d’enfance par Piero della Francesca, published in 1997, is the starting point for a reflection which questions the soundness of the investigation procedure put in place by the scholar, as well as the validity of its conclusions regarding the Madonna del Parto in Monterchi. The analysis of the film Nostalghia by Andrej Tarkovskij (1983) provides important insights in this regard. The examination of the frames in which the work of Piero della Francesca appears, such as the film editing, affirms Damisch’s analysis, allowing to glimpse one of the reasons for fresco’s agency.