Abstract

As part of the ongoing research on the faux domes painted by Andrea Pozzo, and the sketches and drawings attributed to him, one of the objectives was to organize the information contained in the vast bibliography concerning the work and figure of the Jesuit painter and architect, in order to set up a catalog, complete with images, some of which unpublished. `e research has in fact made it possible to discover a photograph of the sketch of the faux dome of the church of the Gesù in Perugia, exhibited at the Venice Biennale in 1986, and a drawing – perhaps a sketch of one of the drawings of the treatise – preserved in the Uffizi and mistakenly preserved under the heading “Pozziµ. It was also decided to include in the section “Drawings – Attributions & Influencesµ one of the drawings of faux domes, preserved at the Kunstakademie in Düsseldorf, on whose attribution historians do not agree and which is interesting for the analysis of the execution techniques. `e aim is to investigate how Andrea Pozzo proceeded in the construction of perspectives, or in the arrangement of the main elements that contribute to defining the spatial image of the faux domes.