Take a look, for example, the scene of the “Resurrection of Tabita”, the second down to the left of the spectator. The Saint occupies a precise space, given by the sloping of the columns and the lines of the floor towards the vanishing point.
It is the great conquest of the Fourteenth century, the scientific and secular view of the world, the third dimension that captures the "actual truth" (Machiavelli would say). but up to a certain point.
In the picture there is no space for the disorder, although it exist. The reality, in a sense, is reduced to the measure of human capacity to perfect the creation of God.
Maybe in this conception of the creation we can find the beginning of the ideas that will lead us to genetic engineering.
In the catalogue, published in 1953, to celebrate an exposure on Antonello da Messina, the realization of this masterpiece is connected to the activity of a famous Maestro who realized the “Croce of Piazza Armerina”, between 1460 and 1480 There have been many attributions. We want mention just Antonello De Saliba, Pietro Ruzzolone (Maganuco and Bottari) and recentely Antonello Da Messina.
This last hypothesis, for example, seem to suggest Mandel in the implant of the work (analogue to the destroyed altarpiece of San Nicolò in Messina.
This theory is supported in two studies: the first, from 1755, realized by Minacciato, the other from 1756 by Caio Domenico Gallo, in which it mentioned an altarpiece by Antonello with painted “story” of San Pietro.
At last, there is a volume titled “rettifiche e acquisizioni per Antonello” by Giuseppe Consoli, who Assigns to Antonello “Il trionfo della morte” also, placed in Palermo, and “la Croce” of Piazza Armerina”.
By Salvatore Paolo
Garufi Tanteri