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ANDREA POZZO
THE JOlNlNG OF TRUTH AND ILLUSION

Jodi L. OIToole History and Theory Program School of Architecture McGiI University, Montréal December 1999

A thesis submitted to the Faculty of Graduate Studies and Research in partial fulfillment of the requirernents of the degree of Master of Architecture.

Q Jodi L OIToole 1999

"suisitionsand Bib ographic Services

Acquisitions etserviees bibliographiques

The author has granted a nonexclusive licence allowing the National Li'brary of Canada to reproduce, loan, distribute or selî copies of this thesis in mimform, paper or electronic formats.

L a t u a accordé une Licence non 'uer exclusive permettant a la Bfihottièque nationale du Canada de reproduire, prêter, distribuer ou vendre des copies de cette thèse sous hfonnede microficheffilm, de reproduction sur papier ou sur format électronique.

The author retains ownership of the copyright in this thesis. Neither the thesis nor substantial extracts fiom it may be printed or othenivise reproduced without the anthor's permission.

L'auteur conserve la propriété du droit d'auteur qui protège cette thése. Ni la thése ni des extraits substantiels de ceiie-cinedoivent être imprimés ou autrement reproduits sans son
autorisation.

for James

ABSTRACT
Andrea Pouo was an architect, writer and painter spanning the Iate seventeenth and eariy eighteenth centuries. The focus of this study is on his paintings of perspectival illusions and his treatise on perspective entitled, Perspectiva
pictorum et architectorum publishedin two volumes in 1693

and1700. This thesis seeks to understand the work of Pouo in light of contemporary philosophical debate over the deception of the senses and their ability to distinguish truth from illusion. Pozzo's intentions are examinedthrough
a study of the positions of René Descartes, Galileo Galilei

and other related artists and architects on the technical and ethical issues surrounding the deceptive nature ofperspective illusions.

Andrea Pouo était un architecte, écrivain et peintre dont I'oeuvre s'étend de la fin du dix-septième siècle j'usqu'au début du dix-huitème siècle. L'intérêt de cette étude est centré sur ses peintures d'illusions perspectives et sur son traite sur la perspective intitulé "Perspectiva pictonim et architectorum" publie en deux volumes en 1693 et 1700. Cette thèse cherche acomprendre l'oeuvre de Pouo en tenant compte du débat philosophiquecontemporaincontre la déception des senses et leur abilité de distinguer la vérité de l'illusion. Les intentions de Pono sont ici examinées a travers une étude des positions de René Descartes, Galileo Galilei et autres artistes et architectes apparentés sur les points de vue technique et éthique entourant la nature déceptived'illusions perspectives.

ACKNOWLEDGMENTS
For his inspiring lecture given at Penn State UniversRy which led me to follow my instincts to study in Montréal, Alberto Pétez-Gomezdesenies an unending amount of thanks. He has been a truly great professor whose program has fostered an atmosphere of discovery creating a community

of individuels who aspire to understandarchitecture through a search forpossibiIities of what coutd exist in the world.
To recognize a 'teacher.' Katsuhiko Muramoto with careful consideration gives of himself to nudge his students toward their own understanding of their work and its relationship to the history of making. I, and so many others, have been inspired by him. A special thanks to Louise Pelletier and Greg Caicco for offering their valuable insights intoOur work throughout the course of the program both in historical research and in making. Also in the productive review sessions attended
by Marco Frascari, Stephen Parcell, Dan Hoffman and Indra

Kagis McEwan, my thoughts were ignited with their energies. To Natalie Bérubé, who has been a wonderful support throughout the writing of mis thesis and in the finai hours also provideddesperate...
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