Perspective analysis of the inlaid wood panel from duomo of Bergamo

The Santa Maria Maggiore Choir factory in Bergamo is an exemplary case that clearly illustrates the combination between artistic vitality and craftsmanship that distinguishes the history of Italian art. Typologically this artwork, made at the beginning of the 500 by the painter Lorenzo Lotto and the master inlayer Giovan Francesco Capoferri, is characterized by a series of innovative solutions that make it unique. The choir, built in walnut with the exception of coniferous wood structure, brings together in a single plan seating of the clergy, the benches beside the altar where there are celebrants and public representations of the state and the benches of city delegation, placed in the hemicycle of the apse behind the altar. Within the representation of political and civil power, therefore assumes a pre-eminent position with respect to the clergy, it differs considerably from the ecclesiastical tradition. The work is also famous for the 32 inlays representing Old Testament episodes that characterize the backrest. Some of these have already been investigated in previous works [Buratti, 2013; Buratti 2016; Buratti 2017], while this paper focuses on the inlay L’Annunciazione. This writing is to be considered a fundamental tile of a broader research that has as its final aim in construction of contents useful for the communication of a cultural asset that is difficult to see. The inlays, in fact, given the particular positioning on the backrest, are usually covered by a protective tile that does not allow the vision to visitors.