When the time came for the painter to place his geometric network on the fireplace, he found himself confronted with an important difficulty: to go from a drawing conceived in two dimensions to its realization in three dimensions.
Indeed, unlike the walls of the room, the hood of the fireplace constitutes a volume whose base is wider than the top and whose three decorated sides are inclined.
The painter was therefore forced to adapt the drawing to the volume by deforming it, which was not an easy task In particular, he realized that if he applied to the letter his system of adaptation to the volume, the purpose of which was to maintain vertical lines, he would be obliged to paint unsightly shapes in the lower right part of his large square.
He therefore decided to cheat by using the ridge formed by the main face of the hood and its small side. Indeed, the viewer can only see these two shots from a specific point in the room. Most of the time, he can only see the main face or the small side and he cannot therefore see the arrangement made by the painter. The trick is to place a plant patterned half-quatrefoil in the bottom corner of the hood, as if it were the bottom corner of the square and add a diagonal line on the short side of the hood. starting from the ridge.
Front and side views of the chimney hood. We realize that the trick used by the painter is no longer discernible.
Photos © Olivier Veissière