In previous studies on the iconographical symbolism revealed in Giorgio Vasari’s fresco decoration for the Cupola of Santa Maria del Fiore(also known as the Dome of Florence,1572-1574),I discussed three points:(1)the impact of Dante’s Divine Comedy,in particular the Inferno;(2)the influence of Coppo di Marcovaldo’s mosaic decoration on the cupola of the Florentine Baptistery(1300);and(3)the inspiration of Renaissance Neoplatonism in Vasari’s paintings.(Aspects of this study were published in Cheney,2016,pp.488-519;Cheney&Hendrix,2002,pp.177-188;Cheney,1998,pp.35-55;Cheney,1987,pp.1-8).In this essay,I will focus on another iconographical representation:the metaphysical and physical symbolism of the eye(―l’occhio‖)in Vasari’s cupola imagery(Figure 1).This approach will connect with Cosimo Bartoli’s lecture on Dante’s Divine Comedy and,in particular,on Dante’s Purgatorio(Cantos XXX and XXXI)as well as with Vincenzo Borghini’s program for the decoration of the Cupola of Santa Maria del Fiore.
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机译：在以前的研究中，在Giorgio Vasari的Fresco装饰中揭示了Santa Maria del Fiore的圆顶壁画（佛罗伦萨，1572-1574）的圆顶，我讨论了三点：（1）Dante的Divine喜剧的影响，特别是地狱;（2）COPPO DI Marcovaldo在佛罗伦萨洗礼饼干圆顶上的影响力（1300）;（3）在Vasari绘画中的文艺复兴时期奈普古代主义的启示。（本研究的各个方面在切尼出版， 2016年，PP.488-519; Cheney＆Hendrix，2002，PP.177-188; Cheney，1998，PP.35-55; Cheney，1987，PP.1-8）。在这篇文章中，我将专注于另一个图谱代表：Vasari的圆顶图像中眼睛（-l'occhio‖）的形而上学和物理象征性（图1）。这一方法将与Cosimo Bartoli在Dante的Divine Comedy上的讲座连接，特别是Dante的Purgatorio（Cantos XXX和XXXi ）以及Vincenzo Borghini的装饰计划Santa Maria del Fio的圆顶关于。
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