Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic (...) book on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

This paper addresses the cognitive status of making pictures, rather than their informational function. Discussion centres on the structure of pictorial space. Space of this kind is constituted from the relation between pictorial content's modal plasticity (that is, its capacity to represent actualities, possibilities, and nomological and metaphysical impossibilities) and the formative role of planar structure and idioms of recessional organization. On the basis of this, it is argued that alternative creative realizations and aesthetic significance are (...) inherent to the structure of pictorial space itself qua pictorial. Such space is conceptually connected to the possibility of visual art. CiteULike Connotea Del.icio.us What's this? (shrink)

A semantics of pictorial representation should provide an account of how pictorial signs are associated with the contents they express. Unlike the familiar semantics of spoken languages, this problem has a distinctively spatial cast for depiction. Pictures themselves are two-dimensional artifacts, and their contents take the form of pictorial spaces, perspectival arrangements of objects and properties in three dimensions. A basic challenge is to explain how pictures are associated with the particular pictorial spaces they express. Inspiration (...) here comes from recent proposals that analyze depiction in terms of geometrical projection. In this essay, I will argue that, for a central class of pictures, the projection-based theory of depiction provides the best explanation for how pictures express pictorial spaces, while rival perceptual and resemblance theories fall short. Since the composition of pictorial space is itself the basis for all other aspects of pictorial content, the proposal provides a natural foundation for further pictorial semantics. (shrink)

This paper deals with the perception of depth in two-dimensional pictures. Two indirect theories of perception, the Mainstream Theory and the Projection Theory, are compared with a direct Adverbial Theory. Apart from seeming to be the philosophical counterpart to present-day empirical theories of perception, the first two theories seem to be tailor-made to deal with this phenomenon, where the perceived space is certainly not out there, on or behind the canvas: they claim that pictorial space is constructed (...) by the brain as the direct object of perception. In contrast, the Adverbial Theory seems unsuited to deal with this phenomenon. I argue, however, that both constructivist theories are incoherent. They misconstrue the intentionality of perception, and fail to attend to the perceptual experience itself. The version of the Adverbial Theory that I defend claims that nothing needs to be constructed: the picture is the direct object of perception, but we perceive it in a certain way. The brain creates no pictorial space; there is only a perceptual experience as of a three-dimensional scene. The Adverbial Theory can thus account for the empirical data, without suffering from coherence problems. (shrink)

The libidinal economy could be exploited by both political movements and advertising campaigns in a pictorial space that is related to the social space at any historical moment. The arrangement of desires in a propaganda poster of the Chinese Cultural Revolution is, in light of political semiotics, the same as in a campaign poster in a consumer society today. The same libidinal economy is rooted in our political unconsciousness and remains to be the deep structure of our (...) political performance. A critical image analysis or a political semiotic critique of this libidinal economy that rules us in the Chinese Cultural Revolution and in consumer society today is necessary and urgent. (shrink)

Pictures are 2D surfaces designed to elicit 3D-scene-representing experiences from their viewers. In this essay, I argue that philosophers have tended to underestimate the relevance of research in vision science to understanding the nature of pictorial experience. Both the deeply entrenched methodology of virtual psychophysics as well as empirical studies of pictorial space perception provide compelling support for the view that pictorial experience and seeing face-to-face are experiences of the same psychological, explanatory kind. I also show (...) that an empirically informed account of pictorial experience provides resources to develop a novel, resemblance-based account of depiction. According to what I call the deep resemblance theory, pictures work by presenting virtual models of objects and scenes in phenomenally 3D, pictorial space. (shrink)

I want to differentiate between two very different ways of organizing pictorial elements at a very abstract level: -/- (2D) two-dimensionally: pictorial elements are organized and grouped according to their outline shape on the picture surface and (3D) three-dimensionally: pictorial elements are organized and grouped according to their position in the depicted space. -/- Suppose you need to depict seven identical spheres. On the most general level, there are two ways of doing this: you can arrange (...) the seven spheres in space and then choose a vantage point in this space from which you want to depict them. Or you can arrange seven circles (the outline shapes of the seven spheres) on the two-dimensional surface of the picture. The former method is an instance of three-dimensional pictorial organization, whereas the latter one is an instance of two-dimensional pictorial organization. (shrink)

I argue that naturalistic pictures provide a guide and a justification for our concept of colour. The crucial relation between pictures and colours is to be brought out, not by reference to the ‘internal’ relations between colours (for example, what differentiates green from red), but by considering how colours are differentiated from the wider range of visually discriminable qualities. Naturalistic pictures effect such a differentiation by simulating colour-like qualities such as gold, amber, and blond, while requiring nothing beyond the three-dimensional (...) manifold of colour space. The seeming simplicity and salience of colour in our visual experience should be recognized as depending on our familiarity with this reductive power of naturalistic pictures. While some sense of these issues has been given expression by many thinkers, the idea is significantly articulated in remarks of Wittgenstein's that were prompted by his reading of a letter the painter Runge wrote to Goethe. (shrink)

I argue that when empty space is seen in mirrors—that is, when perceptual specular experience is veridical—specular empty space is, like pictorial empty space, seen-in. I explain how the phenomenal expansiveness of specular reflections can nonetheless be reconciled with the see-through look of specular space.

What is it to see something in a picture? Most accounts of pictorial experience—or, to use Richard Wollheim’s term, ‘seeing-in’—seek, in various ways, to explain it in terms of how pictures somehow display the looks of things. However, some ‘things’ that we apparently see in pictures do not display any ‘look.’ In particular, most pictures depict empty space, but empty space does not seem to display any ‘look’—at least not in the way material objects do. How do (...) we see it in pictures, if we do? In this chapter, I offer an account of pictorial perception of empty space by elaborating on Wollheim’s claim that ‘seeing-in’ is permeable to thought. I end by pointing to the aesthetic relevance of seeing—or not seeing—empty space in pictures. (shrink)

There is an analogy between Timaeus's act of describing a world in words and the demiurge's task of making a world of matter. This analogy implies a parallel between language as a system of reproducing ideas in words, and the world, which reproduces reality in particular things. Authority lies in the creation of a likeness in words of the eternal Forms. The Forms serve as paradigms both for the physical world created by the demiurge, and for the world in discourse (...) created by Timaeus: his discourse gains its validity not from faithfulness to the way things appear, or the way particular things 'actually happened', but in virtue of its attempt to express in words a likeness of the perfect and eternal reality. There are implications for Plato's philosophy of language, and for the relation between words and things (words do not depict or name things but can be used to construct worlds in a parallel way to the manner in which things construct worlds, both worlds being modelled on one common world of ideas). The match between world and discourse is because of their common pictorial relation (likeness) to an independent model. (shrink)

In order to fully render the “ideal of female beauty”, Dante Gabriel Rossetti was planning a picture which he never executed as an individual canvass. Its aim was to show Venus as seen from various perspectives. It was to be achieved through the use of a number of mirrors surrounding Venus in a complete circle. This project implies that the idea standing behind Rossetti’s art was to reveal the woman as the creator both of herself, being a reflection of a (...) concept created beforehand in her mind, as well as a creator of her own image, being a reflection of this “enhanced” her, in the mirrors. At the same time an infinite number of reflections, raises the power of feminine creation to a universal level and becomes a metaphor of her being the patron goddess of art as well. Thus a “universal” space where all different ladies “meet” is created. In his early paintings, Rossetti employs a combination of different “moments of perspective” that make pictorial space “universal”. His late works become separate “mirror perspectives” of Venus. As a collection, they constitute this set of images unattainable in one picture and extend this “universal space” onto the physical space surrounding them. Also, the manner in which these paintings are executed creates an impression of a “reflection” of the eyesight of each heroine outside of the canvass, returning back into the picture. Thus a new quality is given to the connection of the pictorial space within the frames and that surrounding it. (shrink)

Anticipation plays an essential role in the perception of the empirical reality. Music, because of its purely dynamical nature, is a privileged environment for the study of anticipation processes. In this chapter, we firstly discuss the current viewpoint on anticipation in music perception and the meaning of anticipation structures in general. Then we present a descriptive study of how melodies are experienced inside the psychic present, analyzing a series of musical excerpts alongside selected pictorial analogues. Focusing on the dynamic (...) patterns shared by auditory and visual modalities, we discuss the nature of perceptual continua and their boundaries in the subjective space-time. (shrink)

Space—an essential dimension of our life—is analyzable from different viewpoints, which often gives rise to contrasting conceptualizations. Perceptual analyses shed light on the intrinsic anisotropy and deformations of perceived space, raising the issue of which geometry may be able to represent perceptual space. Pictorial drawings and painting have been relevant sources of information about the nature of living and perceived space. Although the geometry of perceptual space is still in its infancy, contributions are beginning (...) to appear. This special issue contributes to the development of the geometry of perceptual space. (shrink)

This article had several purposes. First, I wanted to highlight the work of Esther Bubley, an American photographer whose documentary work for the Farm Security Administration and the Office of War Information in the early 1940s is largely unknown. Second, I wanted to show how her images complicated and undermined the traditional themes of Depression era photography in the United States, Third, by looking at her images of women, my intention was to reveal how she worked against depictions of femininity (...) during the Depression, and in confrontation with one-dimensional portrayals of women as America entered the Second World Wan In conclusion, I contend that Bubley's images were fundamentally portrayals of working-class femininity represented as being an individual – rather than a symbolic – experience. Most specifically in the images I have examined, Bubley deconstructs an ideological image of female working-class identity which was central to documentary photography in 1930s America. For example, unlike in photographs by Dorothea Lange, Bubley did not portray working-class women as metaphoric sites of passive endurance which would eventually lead to the rejuvenation of American nationalism. Rather, she showed working-class women to be potentially subversive in the ways they defined themselves against the legacy of 1930s photography and in opposition to the ideological impositions of wartime propaganda. As a result, Bubley's images of working-class women waiting in bars for lonely soldiers, or looking for a future beyond the confines of their boarding house existences while remaining outside the middle-class boundaries defined by capitalist consumerism, set out a pictorial foundation for working-class female identity which exists beyond the context in which the photographs were taken. Consequently, Bubley's work highlights individual self-identity, personal empowerment and self-conscious desire in working-class women which was – and still is – confined and repressed by economic disadvantage and systematic marginalization from an American society defined from a middle-class point of view. (shrink)

What is distinctive about sculpture as an artform? I argue that it is related to the space around it as painting and the other pictorial arts are not. I expound and develop Langer's suggestive comments on this issue, before asking what the major strengths and weaknesses of that position might be.

Dominic Lopes proposes that seeing-in admits of kinds. He thus suggests five ways of seeing-in that he feels do justice to the variety of pictorial representations. More recently Dan Cavedon-Taylor has argued that the space of seeing-in marked out by Lopes is incomplete, and thus proposes a sixth kind of seeing-in that fits neatly into the taxonomy. I argue that the phenomenon of seeing-in does not divide in as many ways as Lopes and Cavedon-Taylor propose. I show that (...) the purported cases of pseudo-design seeing do not demonstrate that actual design properties are not experienced and as such these cases can be captured by the other ‘ways of seeing-in’ that Lopes identifies. I also argue against the claim that actualism is a distinct kind of seeing-in. Thus the space of seeing-in ought to be significantly reduced. (shrink)

The vivid, dramatic images of distant stars and galaxies taken by the Hubble Space Telescope have come to define how we visualize the cosmos. In their immediacy and vibrancy, photographs from the Hubble show what future generations of space travelers might see should they venture beyond our solar system. But their brilliant hues and precise details are not simply products of the telescope's unprecedented orbital location and technologically advanced optical system. Rather, they result from a series of deliberate (...) decisions made by the astronomers who convert raw data from the Hubble into spectacular pictures by assigning colors, adjusting contrast, and actively composing the images, balancing the desire for an aesthetically pleasing representation with the need for a scientifically valid one. In Picturing the Cosmos, Elizabeth A. Kessler examines the Hubble's deep space images, highlighting the remarkable resemblance they bear to nineteenth-century paintings and photographs of the American West and their invocation of the visual language of the sublime. Drawing on art history and the history of science, as well as interviews with astronomers who work on the Hubble Heritage Project, Kessler traces the ways that the sublime, with its inherent tension between reason and imagination, not only forms the appearance of the images, but also operates on other levels. The sublime informs the dual expression—numeric and pictorial—of digital data and underpins the relevance of the frontier for a new era of exploration performed by our instruments rather than our bodies. Through their engagement with the sublime the Hubble images are a complex act of translation that encourages an experience of the universe as simultaneously beyond humanity's grasp and within the reach of our knowledge. Strikingly illustrated with full-color images, this book reveals the scientific, aesthetic, and cultural significance of the Hubble pictures, offering a nuanced understanding of how they shape our ideas—and dreams—about the cosmos and our places within it. (shrink)

Image-making is a nearly universal human behavior, yet the visual strategies and conventions to represent things in pictures vary greatly over time and space. In particular, pictorial styles can differ in their degree of figurativeness, varying from intersubjectively recognizable representations of things to very stylized and abstract forms. Are there any patterns to this variability, and what might its ecological causes be? Experimental studies have shown that demography and the structure of interaction of cultural groups can play a (...) key role: the greater the degree of contact with other groups, the more recognizable and less abstract are the representations. Here we test this hypothesis on a real-world dataset for the first time. We constructed a balanced database of Indigenous Australian rock art motifs from both isolated and contact Aboriginal groups (those often in contact with other groups). We then ran a survey asking participants to judge the recognizability of the motifs and to provide interpretations. Results show that motifs from contact Aboriginal groups were more likely to be judged as inter-subjectively recognizable and also elicited more convergent descriptions than motifs from isolated groups. This is consistent with the idea that intergroup contact is likely to be an important factor in the cultural evolution of pictorial representation. We discuss the implications of these findings for the archaeology and anthropology of art, and the parallels with language evolution. (shrink)

Resumen: El presente trabajo busca reflexionar, desde la perspectiva de los estudios interartísticos, acerca de la práctica narrativa de Adolfo Couve, escritor y pintor chileno que tematiza el mundo plástico en toda su producción narrativa. A partir de una concepción desprejuiciada respecto de lo marginal, de la fealdad y la miseria, el autor despliega una mirada alterna en los espacios de borde en busca de la reivindicación de la miseria, a la vez que relativizar el canon estético que prestigia temas (...) y motivos lejanos al campo de referencia de quienes habitan el borde. La exhibición de aquellos espacios, los personajes y los paisajes minoritarios, su composición plástica y narrativa, sin embargo, dialogan permanentemente con la tradición pictórica de elite.: The present work seeks to reflect, from the perspective of interartistic studies, on the narrative practice of Adolfo Couve, Chilean writer and painter who thematizes the plastic world in all his narrative production. Starting from an unprejudiced conception regarding the marginal, the ugliness and the misery, our author displays an alternate look on the edge spaces in search of the vindication of the misery, at the same time that relativizes the aesthetic canon that prestige subjects and reasons far from the reference field of those who inhabit the edge. The exhibition of those spaces, the characters and the minority landscapes, their plastic and narrative composition, nevertheless, permanently dialogue with the pictorial tradition of elite. (shrink)

This essay presents a heterodox reading of the issue of solipsism in Wittgenstein’s Tractatus Logico-Philosophicus, out of which the whole of the TLP can be re-read. Inspired by, though not dependent on, the themes of virtuality and singularity found in Deleuze’s ‘transcendental empiricism’, Wittgenstein’s concept of ‘logical space’ is here complexly related to the paradoxes of the ‘metaphysical subject’ and ‘solipsism,’ within which the strictures of sense are defined, and through which the logico-pictorial scaffolding of the TLP precipitates (...) its own systematic dissolution. It shows how nonsense envelopes not only not idle chatter, and metaphysical confusion, but sense itself. (shrink)

People implicitly associate the “past” and “future” with “front” and “back” in their minds according to their cultural attitudes toward time. As the temporal focus hypothesis proposes, future-oriented people tend to think about time according to the future-in-front mapping, whereas past-oriented people tend to think about time according to the past-in-front mapping. Whereas previous studies have demonstrated that culture exerts an important influence on people's implicit spatializations of time, we focus specifically on religion, a prominent layer of culture, as potential (...) additional influence on space-time mappings. In Experiment 1 and 2, we observed a difference between the two religious groups, with Buddhists being more past-focused and more frequently conceptualizing the past as ahead of them and the future as behind them, and Taoists more future-focused and exhibiting the opposite space-time mapping. In Experiment 3, we administered a religion prime, in which Buddhists were randomly assigned to visualize the picture of the Buddhas of the Past or the Future. Results showed that the pictorial icon of Dipamkara increased participants' tendency to conceptualize the past as in front of them. In contrast, the pictorial icon of Maitreya caused a dramatic increase in the rate of future-in-front responses. In Experiment 4, the causal effect of religion on implicit space-time mappings was replicated in atheists. Taken together, these findings provide converging evidence for the hypothesized causal role of religion for temporal focus in determining space-time mappings. (shrink)

The quantum theory of atoms in molecules (QTAIM) uses physics to define an atom and its contribution to observable properties in a given system. It does so using the electron density and its flow in a magnetic field, the current density. These are the two fields that Schrödinger said should be used to explain and understand the properties of matter. It is the purpose of this paper to show how QTAIM bridges the conceptual gulf that separates the observations of chemistry (...) from the realm of physics and do so in a manner that is both rigorous and conceptually simple. Since QTAIM employs real measurable fields, it enables one to present the findings of complex quantum mechanical calculations in a pictorial manner that isolates the essential physics. The time has arrived for a sea change in our attempts to predict and classify the observations of chemistry, time to replace the use of simplified and arbitrary models with the full predictive power of physics, as applied to an atom in a molecule. (shrink)

When the German mathematician Hermann Minkowski first introduced the space-time diagrams that came to be associated with his name, the idea of picturing motion by geometric means, holding time as a fourth dimension of space, was hardly new. But the pictorial device invented by Minkowski was tailor-made for a peculiar variety of space-time: the one imposed by the kinematics of Einstein’s special theory of relativity, with its unified, non-Euclidean underlying geometric structure. By plo tting two or (...) more reference frames in relative motion on the same picture, Minkowski managed to exhibit the geometric basis of such relativistic phenomena as time dilation, length contraction or the dislocation of simultaneity. These disconcerting effects were shown to result from arbitrary projections within four-dimensional space-time. In that respect, Minkowski diagrams are fundamentally different from ordinary space-time graphs. The best way to understand their specificity is to realize how productively ambiguous they are. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Picture Is a Patchwork of Color Laid Out in a Private Space in Which Lie Flat Imitations of LifeDavid Socher, Independent ScholarThe fish to be fried has an ontological head, an epistemic belly, and an aesthetic tail.1 A picture is a patchwork of color laid out in a private space in which lie flat imitations of life. Such a patchwork constitutes a make-believe visual field. I (...) roll out this suggestion under the following headings: Intention, Form and Content, Ontology, Picture Space, Make-believe, Photography, and Resemblance (see Figure 1).In Annie and Alfred's house the wallpaper has daisies, the linoleum has pine trees, the carpet has tigers, and the upholstery has sailboats. In Betty and Bill's house the wallpaper is plaid, the linoleum is checkerboard, the carpet is paisley, and the upholstery herringbone. Annie, Alfred, Betty, and Bill all have a few one-dollar bills and a few five-dollar bills. As you of course know, the ones have Washington on them and the fives have Lincoln on them. It goes without saying that these daisies, pine trees, tigers, sailboats, Washingtons, and Lincolns are, in fact, pictures, a word I have not used until now. The absence of that word was not particularly noticeable. That is just the way a daisy is on wallpaper and that is just the way a president is on currency. (The word picture is not the only word to act this way, to drop out in this fashion. Take the word name. When I am on a list it is because my name, or perhaps my number is on the list.) For starters let us bring aboard the term picture to include these daisies, trees, tigers, sailboats, and presidents. And let us note that there are no pictures in Betty's wallpaper, linoleum, carpet, and upholstery.Some pictures work harder than Annie's daisies. Consider, for example, the use of pictures in pedestrian traffic lights. The pedestrian WALK sign pictures (in plain white light) a walking figure. And the DON"T WALK sign pictures (in flashing red light) an upraised hand enjoining us to stop.2 The first directs us to walk by showing us an example of walking, by picturing a walking person. We do what the figure does. It walks, we walk. In the second picture we sort of make-believe it is the hand of a traffic officer holding [End Page 105] his hand up for us to stop. This picture does not operate by example. We are certainly not expected to hold up our hand; we are expected to stop. With this sign a picture is used to command by picturing a command. In the WALK sign a picture is used to command by picturing compliance. So these are two ways of using a picture to direct our actions—picturing compliance and picturing a command. Here is a third sign—a picture of a cigarette is overlaid with a red X. The sign tells us not to smoke. It does not picture either command or compliance. It pictures, rather, the prohibited thing. This sign has a non-pictorial content, the X. It signals the prohibition. Click for larger view View full resolutionFigure 1.Annie's daisies, sailboats, and presidents are not to be imitated like the walking figure, nor obeyed like the halting hand, nor avoided like the prohibited cigarette. In merely displaying their subject these pictures fulfill their mission (see Table 1).IntentionBut what is the subject of a picture? What determines who or what is pictured? The Cracker Jack box features a boy in a sailor suit. Shortly before that [End Page 106] confection went into production, the founder's young grandson died, and the founder put that picture on the box in his memory. Since, whatever the founder had in mind, we do not take the sailor boy on the box to be that grandson, it is not him. Excluding the important special case of photographs we require, as Wolheim put it, intention fulfilled to specify the subject of a picture.3 In this case, even if the founder regarded his memorializing gesture as one of putting his grandson... (shrink)

This paper begins by asking a simple question: can a farmer own and fully utilise precisely five tractors and precisely six tractors at the same time? Of course not. He can own five or he can own six but he cannot own five and six at the same. The answer to this simple question eventually led this author to Alfred Marshall's historically-ignored, linguistically-depicted 'cardboard model' where my goal was to construct a picture based on his written words. More precisely, in (...) this paper the overall goal is to convert Marshall's ('three-dimensional') words into a three-dimensional picture so that the full import of his insight can be appreciated by all readers. After a brief digression necessary to introduce Euclidean three-dimensional space, plus a brief digression to illustrate the pictorial problem with extant theory, the paper turns to Marshall's historically- ignored words. Specifically, it slowly constructs a visual depiction of Marshall's 'cardboard model'. Unfortunately (for all purveyors of extant economic theory), this visual depiction suddenly opens the door to all manner of Copernican heresy. For example, it suddenly becomes obvious that we can join the lowest points on a firm's series of SRAC curves and thereby form its LRAC curve; it suddenly becomes obvious that the firm's series of SRAC curves only appear to intersect because mainstream theory has naively forced our three-dimensional economic reality into a two-dimensional economic sketch; and it suddenly becomes obvious that a two-dimensional sketch is analytically useless because the 'short run' (SR) never turns into the 'long run' (LR) no matter how long we wait. (shrink)

The paper reports on the state of Polish and Belarusian scientists’ research on eighteenth century reconstruction and pictorial decorations of the Corpus Christ Church in Nieśwież. On the basis of the inquiry conducted based on Belarusian, Polish and American archives, the author forms a new hypothesis that the reconstruction and church decoration was done by a North Italian architect, Maurizio Pedetti. This hypothesis reveals the network of European artistic and ideological connections, part of which became Nieśwież through the artistic (...) patronage of the Radziwiłł family. (shrink)