Óptica, Geometria e a Primeira Imagem em Perspectiva.

According to the descriptions of Antonio Manneti and Giorgio Vasari, the first picture created under the laws of central perspective - the view of S. Giovanni's Baptistery in Florence painted by Fillippo Brunelleschi - served as well to demonstrate the evidences and virtues of a new mode for depicting. An "optimal" mode, as Leon Baptista Alberti will describe it, scientifically legitimised in a coherent geometric model. Tacking this first picture made in perspective by Brunelleschi as reference and departing from the established debate about the origin of perspective, the purpose of this paper is to (i) emphasise the confrontation between what we call a geometric model and an optical model and, incidentally, (ii) to suggest here another hypothesis for the origin of perspective. Considering the synthesis of the main theses on this debate, the methodology seeks to reconstitute the procedures, exploring the confrontation involving a representation built according to a geometric device and an optical device, namely between the costruzione legittima and the camera obscura. I follow Tsuji's interpretation (1990), but I propose an addition to his theory, which complements it and improves it, with the inclusion of the lens as a fundamental element of the process. I claim that there is a precedence of the optical model over the geometric, although the two are equivalent under a common principle of projection. This precedence, which is assumed at its origin, will then be confirmed in the visual typology that will prevail in the upcoming visual culture of a world of images seen through lenses. On the other hand, the history of pictures in perspective always required drawing as central agent of its conception. Therefore, the focus that I want to highlight with the confrontation of those two models holds essential repercussions in the practice of drawing. Perspective's geometric model, which proclaims the truth of representation based on a criterion of coincidence between the actual view of the object and its drawn image, in ...