The Palladian villa Maser encloses in its interior an important cycle
of frescoes painted in 1560 by Paolo Veronese. Conforming to the balance of
space and light that characterizes the villa, painted architecture dialogues with
real environments for amplifying it in an illusionistic way. This paper aims to
analyze the relationship between the large vestibule of the house – the so called
Crociera Room – and its frescoed surfaces: in particular, through geometric
analysis of two pictorial fields it has been identified the perspective construction
used by Veronese to revolutionize the physical space of the room. Although in
each examined architectural side it has been registered the overlap of several
perspective structures, the many transgressions to rules do not compromise the
illusory scene because in the work realized by the painter, the virtual space
integrates the real one simulating the existance of an unique space. The results
the operations of perspective inversion, conducted in this study, allowed to
organically reconstruct the architecture imagined by the artist.
