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The carved and gilded wood lantern (Museum No. 7225–1860) was recognized as an extraordinary object even before its acquisition in 1860 from Jules Soulages of Toulouse, but its early history and function are uncertain. Based on the first detailed analysis of the lantern's structure, which show that it was made to be supported from below, the article explores the likely design sources used, and proposes that that it was made, probably c.1580–1620, for a Venetian galley, rather than for a domestic setting or land-based ceremonial use. The ownership of naval lanterns, their design and their use as symbols of authority and in signalling is reviewed. Some – albeit inconclusive – evidence supports the tradition that the lantern came from Palazzo Gradenigo. [ABSTRACT FROM AUTHOR]

Introduction: In schizophrenic paintings (e. g., in the famous Prinzhorn Collection in Heidelberg) the theme of labyrinth appears very often. The labyrinth is also a typical issue of mannerism art and that an essential relationship between schizophrenia and mannerism exists. Objectives: The author searches for an explanation of this context (labyrinth, mannerism, schizophrenia) through a phenomenological description of the labyrinthine space, the mannerism art and the schizophrenic world. Methods: The method used is the phenomenological one, that is, the unprejudiced description of the essential features of the phenomena to be studied. Results: A. 1. Unlike the lived space, which is always oriented, the labyrinthine space lacks any direction. 2. Unlike the lived space, which is always referred to another space (the interior to the exterior, the sacred to the profane space), the labyrinth has no reference to another space. B. The author establishes the relationship between the labyrinthine space and mannerism, pictorial movement appeared in Italy at the end of the 16th century. Thus, it is a fact that the labyrinth is one of the most used elements in mannerist paintings together with the mirror, the mask and the monstrosities. C. The author demonstrates that schizophrenic world is linked to both the labyrinthine theme and the mannerist painting. Finally, the author shows how Bleuler's "fundamental symptoms of schizophrenia" are essentially related to mannerism and insofar to the labyrinth. Conclusions: The labyrinth is a very peculiar space, whose essential features allow understanding its notorious presence both in mannerist art and in the schizophrenic symptoms, paintings and world. [ABSTRACT FROM AUTHOR]