ABSTRACT
This chapter discusses the structure of tacit integration to the understanding of paintings and art generally. There is a strange painting covering the vault of the church of St. Ignazio in Rome, it is the work of the Jesuit Andrea Pozzo, done about the turn of the seventeenth century. The painting shows among a number of figures a set of columns which appear to continue the pilasters supporting the vault. According to Pirenne's theory the Pozzo painting is subject to distortion because its perspective is not counteracted by an awareness of the ground on which it is painted. Pirenne's theory affirming invariably aware of the canvas might appear to side with the modern movement, which would identify all painting with brush-strokes on a canvas. Modern art has extended the integration of incompatibles to ever new kinds of art. The unlimited inventiveness of our technology is matched today by the inventiveness of our arts.
