order to address the questions I have been asked by readers, we interrupt our digression and we try to focus better on the strange case of this three-headed Madonna painted in the cloister of the abbey San Pietro in Perugia.
First, how can say with absolute certainty that the one painted in the fresco is a Goddess and a God? In fact, all the guides and religious tourism in the district of Perugia speak with fluency of the painting St. Peter's as the depiction of a classic Trinity trifronte.
That is not at all so we can understand only by comparing other cases 'similar' to Voltes trifrons handed down by the iconographic tradition. And, to give visitors the opportunity to come here not to leave the green immediately Perugia, let's look at a fresco of the fourteenth century [ top] place in the church of Santa Severa and Agata, along the medieval Via dei Priori .
Apart from the joke of the two symmetrical eyes who insist on three faces at once, the character that clearly distinguishes the fresco of St. Peter of this, dating is one of the other almost the same, is the presence of a flowing beard. Beard in stylized representations of faces can determine succinctly [besides the presence of less obvious features of a sweeter and more oval face] if the artist in question refers to the figure of a male or female. These coordinates to find more markedly in all three-headed depiction of the Trinity that the Middle Ages gave us, among which I quote in the vicinity of style with the Perugino fresco in St. Agatha, a painting in the church apse of San Ticino Nicholas attributable to the second half of the fifteenth century [ under ].
Someone could always tell myself that you're wrong, because a very light hair stands out in our fresco in the cloister of San Pietro, in the left figure [below ]. But this detail, rather than deny the uniqueness of the fresco in Perugia, rather confirms the many inconsistencies. In fact, the fresco painter who created the work, probably the school of Giotto, having in mind the number of cases of Voltes trifrons that his colleagues were commissioned to paint this was an obvious hesitation Trinity. He began to outline a light down along the chin of the first figure on the left, then something stopped him. I stopped at that point Today, this painting is so ambiguous that really make us suspect that here at St. Peter has been an exceptional case of syncretism with some old pagan worship paid tribute to a goddess of the oldest Madonna. But what stopped the hand of our fresco painter?
It was probably an indication of the Benedictine monks themselves, the patrons of the church. A mystery an already busy so we can add another. Because in this church extra moenia in the woods that was, remember, the first cathedral of Perugia, was commissioned in fourteenth-century fresco of a strange time for the iconographic history of the Middle Ages? Strange point avoiding confusion by the artist himself, who abruptly stopped the hatching of the beard on the Trinity with three heads, leaving them to view a goddess instead of a god?
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