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چشم انداز پنجره
One of these is a deceptively simple letter, dated 1544, by the writer Pietro Aretino to the celebrated master artist, Titian about a spectacular window view of Venice he had witnessed.
The window view is a well-known rhetorical device.
The birth of landscape painting is ushered in through the window, literally, in the sense that pictures in this period painted a landscape as a window view.
Aretino's writing uses a remarkable series of mental images to demonstrate different levels of a heightened awareness of what he is seeing and writing, conflating his experience of the window view with the language related to painting, and he conjures these images in order to explore an advanced self-awareness of the relationship between the mental images that arise from a reading of his text and his optical ex- perience of the view of Venice.
We begin to see that, along with his system of analogies, Aretino is playing with a complex ontology of the image which involves paint- ing, painting-in-a-painting (Vecellio's landscape), window view, land- scape, and visionary experience, an ontology that is encrusted with cosmological references.
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