Shadow Plays: Virtual Realities in an Analog World

Chapter 1, Note 13

Spieth points out that the title “was coined only after the fresco’s detachment from the walls of Giandomenico Tiepolo’s Villa Zianigo in 1906,” and therefore “in all likelihood, it owes nothing to Tiepolo himself.” “Giandomenico Tiepolo’s Il Mondo Nuovo,” 188. Spieth’s reconstruction has some merit but doesn’t take into full consideration the actual subject of the scene and its evolution in Tiepolo’s career.

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