In late sixteenth-century Italy, the rhetorical foundations of sacred visual art were laid out directly by Gabriele Paleotti (1522\u20131597), the Bishop of Bologna, who wrote in his famous post-Tridentine treatise that images “are supposed to move the hearts of observers to devotion and the true cult of God”. Given the long-standing elevation of clarity in the West from Aristotle onwards as a rhetorical virtue and the concomitant criticism of obscurity as an obstacle to persuasive discourse, the popularity in Counter-Reformation circles of anamorphic images, which plunge observers into states of perceptual confusion, is somewhat counter-intuitive. This talk argues that the contrast between confusion and clarity evoked by anamorphoses made the experience of distinctness or clear perception without obscurity particularly palpable. I also contend that visual discernment gained through anamorphoses was understood to assist in a movement toward an experience of an inner, spiritual discernment.<\/p>\n","protected":false},"excerpt":{"rendered":"