Dr. Kim H. Veltman

Appendix 3-Renaissance Practitioners

    The appendices which follow distinguish between practitioners (I) and theoreticians (II). Practitioners produced perspectival art (paintings, drawings, frescoes, sculptures). Theoreticians wrote or are reputed to have written documents concerning their activities as artists. These lists serve two main functions: first as a handy reference for basic names, variants, dates, with some indication of particular contribution, whether the artist was active in proto-perspective (i.e. non-technical approximations) or linear perspective; and their specialty, whether they were expert in marquetry, scenography, quadratura (illusionistic ceiling painting), trompe l'oeil or anamorphosis, usually giving some concrete example(s) of their work. Secondly, the lists survey only those individuals who have been discussed in the literature. The bibliogaphy provides a catalogue of all contributers to perspective.

Aachener Schranktüren, Master of (fl.c. 1475?-c.1500?)

(Meister der Aachener Schranktüren)

The Master of the Aachener Schranktüren, produced an important example of proto-perspective, a Life of Saint Bruno (Leben des heiligen Bruno, Cologne, Wallraff Richartz Museum) cited by Stange (1952, V, 114).

Arts, Hendrick (c.1567?-before c. 1636?)

(Aerts, H.; Aertsz, H.)

Hendrick Aerts was a painter of architectural church interiors.

Ballegeer (1967) examined his work in relation to Vredeman de Vries. Some of his paintings were cited in the catalogue by Giltaij (1991).

Agnolo, Baccio d' (1462-1543)

(Agnolo, Maestr'; Baglioni, Baccio)

Baccio d'Agnolo was a master of marquetry

He was mentioned by Benedetto Dei (c.1470,90r) and discussed by Vasari (III,55).

Agnolo Montorsoli, Fra Giovann' (1507-1563)

Agnolo Montorsoli's perspectival practice was mentioned by Vasari (IV,45).

Aix, Master of the Annunciation of (fl. 1444)

(Maestro di Aix; Master of Aix)

The Master of Aix was a practitioner of proto-perspective. Castelnuovo (1966) mentioned his Annunciation (Aix-en Provence, Eglise de la Madeleine, 1444).

Alberti, Cherubino (1553-1618)

Cherubino worked together with Giovanni Alberti as a painter of quadratura (Rome, San Giovanni in Laterano, Sacristia, 1592; Vatican, Sala Clementina, 1596-1598) mentioned by Sjöström (1978, pl.17-18).

Alberti, Alessandro (1551-1596)

Allessandro Alberti was attributed to have painted trompe l'oeil such as illusionistic columns (Sabbioneta, Palazzo del Giardino, Corridor grande or Galleria degli Antichi) which Tellini Perina (1991, 59) claimed to be by Alessandro and Giovanni Alberti, although Battersby (1974,55) ascribed this to the Pesenti brothers.

Alberti, Giovanni (1558-1601)

Giovanni Alberti was a painter of vault decorations or quadratura (Rome, San Giovanni in Laterano, Sacrestia Vecchia, 1592; Vatican, Sala Clementina, 1596-1602 in conjunction with Cherubino Alberti) mentioned by Sjöström (1978, pl.17-18) and Knall-Brskovsky (1984, 44). He also painted illusionistic wall decorations or trompe l'oeil, such as illusionistic columns (Sabbioneta, Palazzo del Giardino, Corridor grande or Galleria degli Antichi) which Tellini Perina (1991, 59) claimed to be by Alessandro and Giovanni Alberti, although Battersby (1974,55) ascribed this to the Pesenti brothers.

Albertinelli, Mariotto (1474-1515)

Albertinelli's perspectival practice was mentioned by Vasari (II,201,203).

Alboresi, Giacomo (1632-1677)

Giacomo Alboresi, who became the assistant of A.M. Colonna after the death of Mitelli, and painted illusionistic ceilings and quadratura (Bologna, San Bartolommeo, 1667), was mentioned by Kellermann (1924,109).

Alkmaar, Master of ()

(Master of Alkmaar; Maestro di Alkmaar)

The Master of Alkmaar was a practitioner of perspective. Castelnuovo (1966) mentioned his Seven Works of Mercy, notably, Clothing the Poor (Amsterdam, Rijksmuseum).

Altdorfer, Albrecht (c.1480-1538)

Albrecht Altdorfer was an important early practitioner of perspective in Germany. Panofsky (1927, Abb.40) discussed the preparatory drawing (Berlin, Kupferstichkabinett) to his Birth of the Virgin (Geburt der Maria, Munich, Alte Pinakothek, c.1520). Harnest (1971) analysed this, his Saint Florian Altar (1518); his woodcut of a Praying Cleric in Front of Mary (Betender Geistlicher vor der Maria, c.1519), his coloured woodcut of the Beautiful Maria (Die schöne Maria, c.1519-1520) and a drawing of the Interior of a Church in Gothic Style (Inneres einer Kirche in Gotischer Architekturrahmen, 1518); his engraving of the Entrance to the Synagogue at Regensburg (Vorhalle der Synagoge von Regensburg, 1519); Susannah at the Bath, (Susanna am Bade, Munich, Alte Pinakothek, c.1526) and his Birth of Christ (Die Geburt Christi, Berlin, c.1530-1535, which the Berlin Catalogue dated c.1513).

Altichiero da Zevio (c. 1320- d.c.1395) (fl. 1379)

(Aldighiero; Alighieri da Zevio; Zevio, Altichiero da)

Altichiero, a practitioner of proto-perspective, best known for his Crucifixion (Padua, Sant'Antonio, Cappella di San Felice, c.1379).

He was mentioned by White (1957,108-109).

Amigoni, Jacopo (1675-1752)

Jacopo Amigoni, a painter of illusionistic ceilings, who followed the tradition of Cortona (Munich, Schloss Schleissheim, Viktoriensaal, 1717-1725), was mentioned by Kellermann (1924, 159-160).

Andrea, Master of Sant' ()

(Master of Sant'Andrea)

The Master of Sant'Andrea was an early practitioner of perspective in Cecina.

Andrea dal Monte San Savino (1460-1529)

(Contucci dal Monte San Savino, Andrea di Domenico)

Andrea dal Monte San Savino was mentioned by Vasari (II,275) for his "spirit so ready in dealing with the difficulties of architecture and perspective".

Andrea del Sarto (1486-1531)

(Del Sarto; Sarto)

Andrea del Sarto's perspectival practice was discussed by Vasari (II,308,315,325; III,327).

Angelico, Fra (1387-1455) (c.1395-1455)

(Fra Angelico; Giovanni, Fra; Giovanni Angelico da Fiesole)

Fra Angelico, a Dominican monk active at San Marco, painted the Perugia Altar with a Life of Saint Nicholas of Bari (1437). He worked in the chapel of Nicholas V in the Vatican where he painted a Life of Saint Lawrence and Life of Saint Stephen (1445-1448).

He was studied by Argan (1955) and Parronchi (1961). White (1957, 170-171) discussed his Madonna and Child with Twelve Angels (Frankfurt, Staedelisches Museum, 1430), the Linaiuoli Altarpiece (Florence, San Marco, 1433-1435), the Coronation of the Virgin (Paris, Louvre, 1434-1435), his Virgin and Child Enthroned with Saints (Florence, San Marco, 1438-1440), and the Barbidori Altarpiece. Koyama (1968) published a brief note on Fra Angelico's use of perspective.

Angolo del Moro, Battista (c.1512-)

(Agnolo, Battista d'; Angeli del Moro, Battista; Battista del Moro; Moro, Battista del)

Battista d'Agnolo's perspectival practice was mentioned by Vasari (III,35).

Ansaldo, Giovanni Andrea (1584-1638)

G.A. Ansaldo, a student of Luca Cambiaso, a painter of illusionistic ceilings and quadratura (Genoa, Chiesa dell'Annunziata, Pra near Genoa, Villa Negrone, 1630),was mentioned by Milman (1986,34).

Antonello da Messina (c.1430-1479) (active 1456-d.1479)

(Da Messina, Antonello; Messina, Antonello da)

Antonello da Messina, an early master of perspective, is best known for his Saint Jerome in His Study (London, National Gallery).

He was studied by Fiocco (1951) and Bottari (1951) in terms of perspectival practice. Trutty-Coohill (1982) considered his concept of relief (eminentia).

Antonio of Venice (1309-1383)

Antonio of Venice was praised for his chiaroscuro by Vasari (I,171).

Apt, Ulrich, the Elder (fl.1486-1532)

Ulrich Apt, the Elder was an early practitioner of perspective in Germany. Harnest (1971,16) analysed his Adoration of the Child (Anbetung des Kindes, Karlsruhe, 1510).

Arbaudi, Costanzo (d.1657)

Costanzo and Francesco Arbaudi, who painted illusionistic wall decorations (e.g. near Saluzzo, Castle of Maresco, Courtyard, 1613-1623), were discussed by Milman (1986, 68).

Arbaudi, Francesco (d.1661)

Francesco and Costanzo Arbaudi, who painted illusionistic wall decorations (e.g. near Saluzzo, Castle of Maresco, Courtyard, 1613-1623), were discussed by Milman (1986, 68).

Arezzo, Lorentino D' ()

Lorentino d'Arezzo was an early practitioner of (proto-) perspective.

Paolucci (1966) mentioned his Altar with Madonna enthroned between saints (Pala con la Madonna in trono tra i santi Gaudenzio e Columato, Arezzo, Pinacoteca, 1482).

Asam, Cosmas Damian (1686-1739)

C.D. Asam, an expert in quadratura, painted the Descent of the Holy Ghost (Weingarten, Baden-Württemberg, Abtei Kirche Sankt Martin und Sankt Oswald, 1718 and Aldersbach, Passau, Bavaria, ehem. Abtei Kirche Maria Himmelfahrt, Sankt Johannes der Taufer und Sankt Ursula, 1720) was mentioned by Milman (1986,54-55).

Avanzi, Iacopo (fl.1377-d.1416?)

(Avanzo da Bologna, Jacopo; Davanzo, Giacomo; De Avanciis de Bononia; Jacopo degli Avanzi)

Avanzi, a practitioner of proto-perspective who painted a Funeral of Saint Lucy, a Presentation and Saint George Drinking the Poison (Padua, Sant'Antonio, Cappella San Giorgio), was discussed by White (1957, 109).

Baden, Hans Jerome Van ()

(Van Baden, Hans Jerome)

Hans Jerome van Baden was a painter of architectural views.

Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Badile, Giovanni (1379-1451)

Giovanni Badile was a practitioner of perspective.

Baglione, Cesare (c.1525-1590/1615)

(Baglioni, Cesare)

Cesare Baglione, a painter of vault decorations, quadratura (e.g. San Marino, Villa Paleotti; Bologna, San Giacomo Maggiore) was mentioned by Knall-Brskovsky (1984, 51).

Baireti Cenari, Francesco ()

(Cenari, Francesci Baireti)

Baldancoli, Pietro (1834-1901)

Pietro Baldancoli, a painter of illusionistic walls and trompe l'oeil and quadratura (Florence, Palazzo Serristori, Drawing Room, 1896-1897), was mentioned by Milman (1986, 90).

Baldung Grien, Hans (c.1484/1485-1545)

(Grien, Hans Baldung; Grun)

Baldung Grien was an early practitioner of perspective in Germany.

Mentioned by Pélerin (1521,1r), he was the subject of a catalogue (1959) and discussed by Brion Guerry (1962,440). Harnest (1971, p.38) analysed his Birth of Christ (Heilige Nacht, Munich, 1520) and his Pyramis and Thisbe (Pyramis und Thisbe, Berlin, Gemäldegalerie, 1530).

Barbari, Jacopo de (c.1440?-1516?)

Barbari, best known for his famous engraving of Venice (1500), was studied by Servolini (1944), is also ascribed to have made A Portrait of Luca Pacioli (Naples, Museo di Capodimonte, c.1495).

Barberini Panels, Master of the (fl. c.1450-1475)

(Camerino, Giovanni Angelo di Antonio da; Giovanni Angelo di Antonio da Camerino)

The Master of the Barberini Panels, who painted the Nativity of the Virgin (now New York, Metropolitan Museum), and Presentation of the Virgin in the Temple (Boston, Museum of Fine Arts), was studied by Offner (1939), Zeri (1961) and Paolucci (1966).

Barbieri, Giuseppe (1646)

Giuseppe Barbieri worked with A. Pozzo on illusionistic ceilings or quadratura (Turin, Chiesa dei Santi Martiri) and was said (according to Carboneri, 1966) to have worked independently (e.g. Bologna, Chiesa dei Gesuiti, c.1687-1691 and Modena, San Bartolomeo, 1695-1698) which was discussed by Knall-Brskovsky (1984,131).

Barbieri, Fra Luigi ()

Fra Luigi Barbieri, among Pozzo's assistants in Modena, was credited with work (Modena, Chiesa di San Bartolommeo, Cupola) previously attributed to Pozzo himself as noted by Kellermann (1924, 136-138).

Bargagli, Girolamo (1537-1586)

Girolamo Bargagli, the author of a play La Pellegrina (1567, performed Florence, Teatro Mediceo, 1589), which contained a perspectival view of Pisa, was discussed by Zorzi (1977, 119).

Bartoli, Domenico Di (fl. 1428-1447)

(Di Bartolo, Domenico; Domenico di Bartolo)

Domenico di Bartolo, a nephew of Taddeo Bartoli (1363-1422) was mentioned by Vasari (I,194) in connection with his large scenes in fresco "which contain perspectives" (Siena, Spedale di Santa Maria della Scala, Pellegrinaio, c. 1441-1444). His Pope Celestine III Conferring Privileges of Autonomy to the Hospital of Santa Maria della Scala (Papa Celestino III concede privilegi di autonomia all'ospedale di Santa Maria della Scala in 1192) was cited by Horstmann (1968, pl.11) as one of the earliest examples of illusionistic ceilings (quadratura). Other frescoes in this series were reproduced by Torriti (1987).

Bartolo, Taddeo di (1362/1363-1422)

(Di Bartolo, Taddeo; Taddeo di Bartolo)

Taddeo di Bartolo was a practitioner of proto-perspective who painted a Life of the Virgin (Siena, Duomo, Cappella Sant'Antonio, 1401) and a Life of Saint Francis (now Hannover, 1403) as well as a Plan of Rome (Siena, Palazzo Pubblico), related to that in the Très Riches Heures as White (1957, 242) noted.

Bartolommeo da Bagnacavallo (1484-1542)

(Ramenghi, Bartolommeo; Bagnacavallo, Bartolommeo da)

Vasari (II,365) mentioned his perspectival practice.

Bartolomeo di Biagio, Martino di (fl. end of 14th c. d before1435)

(Biagio, Martino di Bartolomeo di)

Martino di Bartolomeo di Biagio was a practitioner of proto-perspective who painted a Life of Saint Catherine (1404).

Bartolommeo di San Marco, Fra (1472-1517)

(Baccio della Porta)

Bartolommeo di San Marco's perspectival practice was discussed by Vasari (II,194-196,225-226,191).

Basaiti, Marco (c.1470-1530)

Basaiti was an early practitioner of perspective.

Vasari (II,142) mentioned his Call of the Sons of Zebedee (Chiamata dei figli di Zebedeo, Venice, Galleria dell'Accademia, 1510). This and his Madonna and Child, (Washington, National Gallery) were cited by Paolucci (1966).

Bassen, Barthold Van (c.1590-d.1652)

(Bassen, Bartholomeus Van; Van Bassen, Bartholomeus)

Barthold van Bassen was a practitioner of perspective specializing in church interiors such as the Interior of a Gothic Church (London, National Gallery, 1638) and Interior of a Church, said to be falsely signed by P. Neefs (London, National Gallery, 1644). He also painted secular interiors in perspective (Interieur mit vornehmer Gesellschaft, Berlin, Gemäldegalerie, Kat. Nr. 755).

Schneede (1965) and Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Bastiani, Lazzaro (fl.1470-1490)

Paolucci (1966) cited Bastiani's Nativity and Saints (Natività e Santi, Venice, Galleria dell'Accademia).

Beauneveu, André (c.1340-after 1403)

André Beauneveu was a practitioner of proto-perspective who illuminated the Très Belles Heures du Duc de Berry (Brussels, Bibliothèque Albert Ier, ms. 11060), which Panofsky (1927, Abb. 27) related with the workshop of Jacquemart De Hesdin. Bunim (1940, fig.63) considered a Prophet attributed to Beauneveu from the Psalter of Jean De France, Duc De Berry (Paris, Bibliothèque Nationale, ms. fr. 13091).

Beccafumi, Domenico (1486?-1551)

Beccafumi, active as a painter of illusionistic ceilings (Siena, Palazzo Pubblico, Sala di Consistorio), made a drawing for stage scenery showing Pisa (Florence, Collection of Sir John Pope-Hennessey). His perspectival practice was discussed by Vasari (II,143-142-149) and mentioned by Zorzi (1977, fig. 57).

Beck, Leonhard (c.1475-1542)

Leonhard Beck was an early practitioner of perspective in Germany. Harnest (1971,37) analysed his Adoration of the Kings (Anbetung der Könige, Augsburg, 1515).

Bedford Hours, Master of the (fl.1405-1430)

(Bedford Master; Maitre de Bedford; Master of the Bedford Hours)

The French Master of the Bedford Hours (London, British Library Ms. Add. 18850) was an early source of proto-perspective. Panofsky (1953) linked him with the Boucicaut Master. White (1957,235,n.37) linked both the Bedford Master and the Master of the Sobieski Hours to the Très riches heures du Duc de Berry by the Limbourg brothers. Brion Guerry (1962,100) mentioned two further manuscripts: Bréviaire de Bedford (Paris, Bibliothèque Nationale, ms. lat. 17294) and Heures de 1450 à l'usage de Paris (Paris, Bibliothèque Nationale, ms. lat. 1176).

Beduzzi, Antonio (c.1675-1737)

Antonio Beduzzi, a painter of quadratura (Melk, Stiftskirche; Saal, Niederösterreichisches Landhaus; Maria Taferl, Wallfahrtskirche; Vienna, Palais Daum-Kinsky and Schloss Hetzendorf) was discussed by Knall-Brskovsky (1984,191-221).

Bella detto Stefanino, Stefano della (1610-1664)

(Della Bella, Stefano; Stefanino)

Stefano della Bella, active in scenography, who made the illustrations for Il Mondo Festeggiante (1661), was mentioned by Zorzi (1977, 232).

Bellini, Gentile (1426-1507)

Mentioned for his perspectival practice by Pacioli (1494,2r), Gentile Bellini was discussed by Vasari (II,45-47).

Bellini, Giovanni (1428-1516)

Giovanni Bellini painted the predella panels of a Life of Saint Vincent Ferrer (Venice, Santi Giovanni e Paolo, 1464-1468) and the Pesaro altar (Pala di Pesaro, originally Pesaro, San Francesco now Musei civiche). He was mentioned for his perspectival practice by Pacioli (1494,2r) and discussed by Vasari (II,49).

Benard

Benard was cited as a practitioner by Pélerin (1521,1r) and discussed by Brion Guerry (1962,432) who linked this name with Bernard de Heidelberg and Bernardo Zenale.

Benso, Giulio (1601-1668)

G. Benso, a painter of quadratura (e.g. Genoa, Annunciata del Vastato, Chiesa della Santissima, Annunciation, 1638; Cagnes sur Mer, French Riviera, Chateau Grimaldi, 1648), was mentioned by Knall-Brskovsky (1984, 44) and Milman (1986,37,64).

Bérain, Jean (1637-1711)

Jean Bérain, active in scenography as successor to C. Vigarini in 1680, abandoned the tradition of points of view at infinity, reducing the illusion of depth in favour of moveable space along the sides as was mentioned by Povoledo (1975,1597). His sketch for Le port de la Capitale de Cochide was mentioned by Schnapper (1982, fig. 49).

Berckheyde, Gerrit (1638-1698)

Gerrit Berkheyde was an practitioner of perspective best known for his Market Place at Haarlem (London, National Gallery,1674) and also a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Berckheyde, Job (1630-1693)

Job, the elder brother of Gerrit Berckheyde, was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Bergognone, Ambrogio (fl. 1481-1522)

(Borgognone, Ambrogio)

Bergognone painted predella panels with a Life of Saint Benedict (Nantes, Musée and Milan, Castello Sforzesco, 1490) and a Life of Saint Ambrose (Turin, Galleria Sabauda, 1490) as well as altars of Saint Ambrose (1490) and Saint Siro (1491) in the Certosa di Pavia where he was also a painter of illusionistic trompe l'oeil (Man at a Window, c.1490) as mentioned by Battersby (1974, 82). Bergognone is known for narratives of exceptional veracity although they are slightly monotonous.

Berlinghieri, Bonaventura (fl.1210-1274)

Bonaventura Berlinghieri was a practitioner of proto-perspective who painted a Life of Saint Francis (Pescia, San Francesco, c.1235).

Bernardino da Siena ()

Bernardino da Siena was attributed to have drawn a Perspective of a City (Prospettiva urbana, London, Victoria and Albert Museum, 16th c.), connected with scenography, listed by Mancini et al. (1975,83).

Bernini, Lorenzo (1598-1680)

Lorenzo Bernini, active as an architect, integrated aspects of illusionistic ceiling painting into his architecture (Rome, Sant'Andrea dell Quirinale, 1678) as mentioned by Kellermann (1924, 185).

Berthelemi

Berthelemi was cited as a practitioner by Pélerin (1521,1r) and discussed by Brion Guerry (1962,439) who linked this name with Batholomeus Vest, Barthélemy de Clerc and Bartolommeo Suardi, i.e. Bramantino.

Bertram von Minden, Master (c.1345-1475)

(Minden, Meister Bertram von; Von Minden, Meister)

Master Bertram von Minden was a practitioner of proto-perspective (axial perspective). Panofsky (1927, Abb.25) mentioned his Creation of the Stars (Erschaffung der Gestirne, Hamburg, Kunsthalle, 1379).

Beychel, Desiderius (fl. 1505)

Desiderius Beychel was a practitioner of proto-perspective mentioned by Harnest (1971).

Bianchi Ferrari, Francesco De' (c.1460-1510)

Francesco De'Bianchi Ferrari painted predella panels with a Life of Saint Jerome (Modena, San Pietro).

Bibbiena, Antonio (1700-1744)

Zorzi (1977, 137) mentioned his model for a theatre (Bologna, Teatro Nuovo).

Bibbiena, Bernardo Dovizi Da (1470-1520)

(Da Bibbiena, Bernardo Dovizi; Dovizi Da Bibbiena, Bernardo)

Bernardo Dovizi Da Bibbiena, a cardinal, was author of La Calandria (Urbino, 1513 cf. Rome, 1514; Venice, 1522), directed by Baldassare Castiglione, with sets by Genga with "finest painting and perspective well understood" ("bonissima pintura e prospettiva bene intesa", discussed by Zorzi (1977, 92).

Bigari, Vittorio Maria (1692-1776)

Vittorio Bigari, a painter of vault decorations who worked with Stefano Orlandi (Faenza, Palazzo del Popolo, Gran Galleria, 1728) was discussed by Sjöström (1978,pl.56).

Biondo, Giovanni Del (fl.1356-d.1392)

(Del Biondo, Giovanni; Giovanni del Biondo)

Giovanni del Biondo, a practitioner of proto-perspective, was in the workshop of Nardo di Cione, and painted frescoes (Florence, Santa Croce, Cappella Bardi di Vernio). Attributed to him are other frescoes (Florence, Santa Maria Novella, Cappella Strozzi, 1355-1356).

Blieck, Daniel de (c. 1600/1620?-1673)

De Blieck, Daniel)

Daniel de Blieck, who composed a Booklet of Drawings (Tekenboekje, now Zeist, Rijksdienst voor Monumentenzorg, 1653), was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Boccaccio of 1402, Master of the (fl.1402)

(Master of the Boccaccio of 1402)

The Master of the Boccaccio of 1402 (Paris, Bibliothèque nationale, ms. fr. 12420) was mentioned by Brion-Guerry (1962, 100) as an example of proto-perspective and which might be compared with Fouquet's Boccaccio.

Boccaccio of Jean Sans Peur, Master of the (fl.1409-1419)

(Master of the Boccaccio of Jean Sans Peur)

The Master of the Boccaccio of Jean Sans Peur (Paris, Bibliothèque de L'Arsenal, ms.5193, c.1409-1417) was edited by Marin (1911) and discussed by Panofsky particularly with respect to the Rape of the Virgins of Lokri by the Tyrant Dionys of Syracuse (Beraubung der Jungfrauen von Lokri durch den Tyrannen Dionys von Syrakus).

Boccati da Camerino, Giovanni (c.1420-c.1480?)

(Camerino, Giovanni Boccati da; Da Camerino, Giovanni Boccati)

Boccati, a student of Mantegna who worked with him at the court of Federigo da Montefeltro at Urbino, painted the predella panels of the Life of Saint Sabinus (London, Barlow Collection, 1473). He was studied by Rotondi (1951), and mentioned by Brion Guerry (1962,54). Paolucci (1966) cited his Madonna del Pergolato (Perugia, Galleria Nazionale dell'Umbria).

Bologna, Andrea da (fl.1350-1400)

(Andrea da Bologna; Da Bologna, Andrea)

Andrea da Bologna was a practitioner of proto-perspective who painted a Life of Saint Catherine (Fermo, Palazzo Communale).

Bonaiuto, Andrea di (fl.1343-d.c.1377)

(Andrea da Firenze, detto; Firenze, Andrea da)

Andrea Bonaiuto was a practitioner of proto-perspective who painted a Life of Saint Ranieri (Pisa, c.1377) and a Triumph of Saint Thomas (Florence, Santa Maria Novella, Cappellone degli Spagnoli).

Bonascia, Bartolommeo (fl.1469-d.1527)

Paolucci (1966) cited his Pietà (Modena, Galleria Estense,1485).

Bonfigli, Benedetto (1420-1496)

Bonfigli, working in the tradition of Fra Angelico and Domenico Veneziano, painted frescoes with the Life of Saint Louis of Anjou (Perugia, no.34-27); Life of Saint Louis of Toulouse and Life of Saint Hercules (Vita di Sant'Ercolano, 1454-1477). Paolucci (1966) mentioned his Funeral of Saint Louis (Esequie di San Ludovico, Perugia, Galleria Nazionale dell'Umbria).

Bonsignori, Francesco di (c.1445-1519)

(Monsignori, Francesco)

Bonsignori's perspectival practice was discussed by Vasari (III,36-37).

Boquetaux, Master (fl. 1250-1275)

(Maitre aux Boquetaux)

The Boquetaux Master was a practitioner of proto-perspective in illuminated manuscripts such as the Poésies de Guillaume de Machaut (Paris, Bibliothèque Nationale, Ms. fr. 1584) particularly folio D, Love Presenting Three of his Children which was discussed by White (1957, 220) or the Coronation Book of Charles V (London, British Library, Cotton Tib. B VIII) from the circle of the Boquetaux Master also discussed by White (1957,221).

Bordone, Paris (1500-1571)

(Bordon, Paris)

Bordone's perspectival practice was discussed by Vasari (IV,212), and studied by Schefer (1969) and Formicheva (1971) who attributed to him Augustus and the Sibyl of Tibur (Moscow, Collection Sergey Obrastsov, c.1538-1540).

Borneman, Hans (fl.1448-c.1474?)

Hans Borneman, was credited by Musper (1970, 31) as having painted the Punishment of the Townholder Agäas (Bestrafung des Stadthalters Agäas, 1444-1447) in the Heiligentaler Altar (Lüneburg, Sankt Nikolaikirche, 1444-1447), a significant example of proto-perspective in the North, also attributed to the Master of Heiligenthal.

Borromini, Carlo (1599-1667)

Borromini was an architect particularly famous for his anamorphic perspectival gallery in the Palazzo Spada in Rome (1652-1653).

Passing reference to it was made by Elffers and Schuyt (1975) in their catalogue of an exhibition on anamorphosis. It was studied by Neppi (1975), Heimbürger Ravalli (1977) and analysed in detail in an important monograph by Sinisgalli (1981).

Borroni, Giovan Angelo (1684-1772)

Borroni, active in Milan as a painter of illusionistic ceilings was studied by Bossaglia (1964) in connection with Bortoloni and Magatti.

Bortoloni, Mattia (1696-1750)

Bortoloni, active in Milan as a painter of illusionistic ceilings was studied by Bossaglia (1964) in connection with Borroni and Magatti.

Botticelli, Sandro (1444-1510)

(Alessandro di Botticelli)

Botticelli was an early practitioner of (proto-) perspective.

He was mentioned by Pacioli (1494,2r) and Vasari (II,86) and studied by Kern (1905) and Mesnil (1938,1938,1939). Fiocco (1939) referred in passing to Botticelli's perspective in the context of poetry of the line. Vagnetti (1979, 277-278) mentioned him.

Botticini, Francesco (1446-1497)

Francesco Botticini was an early practitioner of perspective who painted an Altar (Empoli, Collegiata, 1484-1491).

Boucicaut Master (fl.1410-1415)

(Boucicault Master; Master Boucicaut)

The Boucicaut Master was an important practitioner of proto-perspective influential in the development of early Netherlandish art according to Panofsky (1953) who linked him with the Master of the Bedford Hours. Meiss (1966) studied his principal work, the Hours of the Maréchal de Boucicaut (Heures du Maréchal de Boucicaut, Paris, Musée Jacquemart-André, ms.2), including scenes such as Adoration of the Child (73v.). Brion Guerry (1962, 100) cited a scene of Saint Leonard Delivering Two Prisoners from the same manuscript; an Annunciation from the Heures de Paris (Paris, Bibliothèque Nationale, ms. lat. 1161); the scene of Hannibal and the Carthaginians in Titus Livius (Tite Live, Paris, Bibliothèque Nationale, ms. fr. 259) and related the procedure to the Office of the Dead in the Book of Hours of 1402 (Livre d'Heures de 1402, New York, Pierpoint Morgan Library, ms. 515, fol. 153). Ragghianti (1977, 468) mentioned that a manuscript by Pierre Salmon, Demands made by King Charles VI (Les demandes fait par le roi Charles VI), was attributed by some to the Boucicaut Master.

Boulanger, Jean (1566-1660)

(Boulanger, Master; Master Boulanger; Maestro Boulanger)

Master Boulanger and his collaborators who painted illusionistic wall decorations and quadratura (Sassuolo near Modena, Palazzo d'Este, Gallery, 1646), were mentioned by Milman (1986, 75).

Bouts, Aelbrecht (1452/1460-1549)

Aelbrecht Bouts painted a Saint Augustine and John the Baptist with a Donor (Der Heilige Augustinus und Johannes der Täufer mit Stifter, Berlin, Gemäldegalerie, Kat. Nr. 540).

Kern (1910) touched on the question of his perspectival practice. Collier (1975) in a significant dissertation on Petrus Christus and Dirk Bouts analysed some of his paintings.

Bouts, Dirk (1410/1420-1475)

Dirk Bouts was an early practitioner of perspective in the Netherlands. He has been credited as the first (c.1464) to use a central vanishing point in the Low Countries (cf. Petrus Christus, 1457).

Kern (1910) touched on the question of his perspectival practice. Doehlemann (1911) analysed his Last Supper in the Altarpiece of the Holy Sacrament (Louvain, Sint Peter, 1464-1467) and claimed that this was the first use of a single vanishing point construction in the North. This was cited by Panofsky (1927, fig.7), and deserves comparison with his Christ in the House of the Pharisee Simon (Christus im Haus des Pharisäers Simon, Berlin, Gemäldegalerie, Kat. Nr. 533A). Collier (1975) in a significant dissertation analysed the paintings of Petrus Christus and Dirk Bouts, as well as contemporaries such as Albrecht Bouts, Hans Memling, Hugo van der Goes and Gerard David.

Brea, Ludovico (c.1450-1523)

Ludovico Brea was an early practitioner of perspective who worked with Foppa on the Pala di Savona.

Breu der ältere, Jorg (c.1475-1537)

Breu's perspectival practice was touched upon by Baumeister (1957).

Broederlam, Melchior (fl.1381-1409)

Melchior Broederlam was an important practitioner of proto-perspective in the Low Countries, known for paintings from the Life of Christ such as the Annunciation, Visitation, Presentation in the Temple and Flight into Egypt (Dijon, Musée des beaux arts). He was discussed by Panofsky (1953) and Harnest (1971, 11,38,90).

Brunelleschi, Filippo di Ser (1377-1446)

Brunelleschi, an architect who studied Roman ruins and completed the dome in Florence, was reported by Filarete and Manetti to have made the first two panels using linear perspective in a strict sense (c. 1415-1425): one showing the Baptistery, the other showing the Piazza della Signoria. He was also active in stage scenery for San Lorenzo, Sagrestia Vecchia (1420-1429); San Felice in Piazza (1430). Cf. Santissima Annunziata (1439); Chiesa del Carmine (1439)and Santo Spirito (1439) discussed by Zorzi (1972).

Brunelleschi's perspectival experiments were first discussed by Filarete (c.1464), Manetti (c.1489-1497) and Vasari (I,238,269,272-273). Modern discussions began with Fabriczy (1892), Nielsen (1896), Björnbo (1903), Kern (1913), Panofsky (1927) and Fasolo (1936). Giedion (1941, 32-35) described Brunelleschi as a pivotal figure in his Space, Time and Architecture. An important article by Argan (1946, cf. 1948) also linked Brunelleschi's perspective with architecture and the development of modern concepts of space in the West, themes pursued by Francastel (1951). In the course of the 1950's Brunelleschi emerged as a symbol of new links between art and science during the Renaissance. Sanpaolesi (1951) turned attention to the mathematical, mechanical and scientific context of his work, themes developed by Kline (1953), Randall (1957) and Santillana (1959). On the art historical side an important article by Wittkower (1953) linked Brunelleschi with central concerns of proportion in the Renaissance, a theme later developed by Boskovits (1962).

A major monograph on Ghiberti by Krautheimer (1956) claimed that Brunelleschi had in fact introduced the ground plan-elevation method of perspective. These trends were supported in a series of studies by White (1949, 1952, 1957, 113-126). White, Gioseffi (1957) and Parronchi (1958-1959) focussed attention on the details of precisely how Brunelleschi produced his panels. Klein (1961, 224) in a major article on Gauricus claimed that Brunelleschi knew "the existence and the signification of the central vanishing point...and also of the distance point". Meanwhile Lemoine (1958) proposed that Brunelleschi's experiment was connected with the recovery of Ptolemy's Geography, deriving specifically from his second cartographic projection. After repeating Brunelleschi's experiment in situ (1968) Edgerton (1972) re-examined the alternative explanations. While challenging Lemoine's specific claims, Edgerton (1974) insisted that Ptolemaic cartography had played a major role in the discovery of perspective, a theme which he developed in book form (1975). Beltrame (1973) reviewed the major explanations for Brunelleschi's experiments and drew attention to the importance of the surveying tradition for these developments. Kemp (1978) also reviewed the literature. Lang (1980) suggested that Brunelleschi's two panels were attempts to illustrate Vitruvian stage sets for tragic and comic plays respectively. A major conference on Brunelleschi (1980) with articles by Vagnetti, Brion-Guerry and others reviewed many of these developments. Psychologists have also become interested in Brunelleschi's experiments, notably Arnheim (1978), Pastore (1979) and Kubovy (1986). In all there have been well over a hundred articles on Brunelleschi's contribution. Most of these do not cite the few lines in Filarete and Manetti which are our only real sources for what he did, and simply hail Brunelleschi as a symbol as if the complex development which emerged slowly in the course of three centuries was actually a single event.

Brunetti, Paolo Antonio (1723-1783)

P.A. Brunetti, a painter of illusionistic walls and trompe l'oeil (Paris, Eglise de Sainte-Marguerite, Chapelle des Ames du Purgatoire, 1764), was mentioned by Milman (1982,22).

Bruni, Domenico (1591-1666)

D. Bruni, a painter of illusionistic ceilings or quadratura (Venice, San Martino, Sacristia), was discussed by Knall-Brskovsky (1984, pl. 39).

Bugiardini, Giuliano (1475-1554)

Vasari (III,218) mentioned his perspectival practice.

Buonarroti, Michelangelo, Il Giovane (1562-1642)

Michelangelo Buonarroti il Giovane, wrote a comedy, Judgement of Paris (Giudizio di Paride), the sixth intermezzo of which had a perspectival scene showing The Temple of Peace (Il Tempio della Pace) cited by Pirrotta (1975, fig.40).

Buonconsiglio, Giovanni (fl. 1475-d.1535/1537)

(Il Marescalco; Marescalco, Il)

Vasari (II,142) praised Buonconsiglio's "very excellent perspective of houses" in an altar of Saint Thomas Aquinas (Venice, San Giovanni e Paolo). Paolucci (1966) cited Buonconsiglio's Three Saints (Tre Santi, Venice, Galleria dell'Accademia) and his Christ (Cristo deposito tra San Giovanni, la Madonna e la Maddelena, Vicenza, Pinacoteca).

Burgkmair, Hans (1473-1531)

Hans Burgkmair was an early practitioner of perspective. Harnest (1971,37) analysed his Esther in front of Ahasver (Esther vor Ahasver, Munich, Alte Pinakothek, 1528).

Burnacini, Ludovico (1636-1707)

Ludovico Burnacini, came to Vienna from Venice (and probably originally from Bologna) in 1651 when his father was made Engineer of Theatre and Festivities at the Imperial Court. Known for his ceiling decorations or quadratura (e.g. Vienna, Theater auf der Cortina), he was discussed by Knall-Brskovsky (1984,121-122). He designed the scene Arancera for Il Pomo d'Oro by A. Cesti (produced in Vienna, 1688 with an engraving by M. Küsel now Rome, Collezione privata) as listed by Mancini et al. (1975,84).

Buxtehuder Master (fl.1505)

(Buxtehuder Meister; Maler der Buxtehuder Flügel; Meister des Buxtehuder Flügels)

The Master of the Buxtehuder Wing was a practitioner of proto-perspective in Germany. Harnest (1971,13) analysed his Scourging of Christ (Geisselung, Halepagenaltar, c.1500-1510).

Caccianiga, Francesco (1700-1781)

Francesco Caccianiga, a painter of illusionistic ceilings (Rome, Casaino Ludovisi, who studied with Franceschini, was mentioned by Kellermann (1924-158).

Callot, Jacques (1593/1594-1635)

Jacques Callot, active in scenography, drew a View of the Square of Santa Croce (Veduta di Piazza Santa Croce con la figura conclusiva della Guerra di Bellezza, based on Giulio Parigi, Florence, Biblioteca Nazionale Centrale, Palatino,C.9.3.6, 1616); made a preparatory drawing for the First Interlude of the Watch of the Liberation of Tyrene (Primo intermedio della Veglia della Liberazione di Tirreno ed Arnea autori del sangue toscano, Berlin, Kupferstichkabinett, 1617), cited by Zorzi (1977, fig. 73) and made an engraving with a Perspective of Aleppo (Prospettiva d'Aleppo) for a scene in Il Solimano by Prospero Bonarelli (Florence, 1619, now Naples, Collezione privata) cited in Mancini et al. (1975,84) .

Cambiaso, Luca (1527-1585)

Cambiaso's perspectival practice was studied in two articles by Profumo-Müller (1970-1972, 1974).

Campi, Antonio (fl.1561-d.1591)

Antonio Campi, a painter of quadratura (Milan, Chiesa di San Paolo, 1588),was mentioned by Milman,(1986,34).

Campi, Giulio (1500-1572)

The brothers Giulio and Vincenzo Campi were mentioned by Knall-Brskovsky (1984,35) as early exponents of illusionistic ceilings and quadratura in north-west Italy whose plans were for instance carried out by Malosso (Cremona, Sant'Abbondio).

Campi, Vincenzo (1530/1536-1591)

The brothers Giulio and Vincenzo Campi were mentioned by Knall-Brskovsky (1984,35) as early exponents of illusionistic ceilings and quadratura in north-west Italy whose plans were for instance carried out by Malosso (Cremona, Sant'Abbondio).

Canaletto (1697-1768)

(Canale, Antonio called Canaletto)

Canaletto was an important practitioner of perspective said to have used the camera obscura extensively in producing his paintings. Morassi (1955) touched on probems of chronology and perspective in Canaletto's work. He has been studied authoritatively by Corboz (1985).

Canuti, Domenico Maria (1620-1684)

D.M. Canuti, a painter of quadratura, worked with E. Haffner on the Glory of Saint Dominic (Rome, Santi Domenici e Sisto, 1674), as mentioned by Milman (1986,57).

Capestrano, San Giovanni da, Master of (fl. c.1470)

(Maestro di San Giovanni da Capestrano)

Paolucci (1966) cited Capestrano's Standard of Saint John of Capestrano (Stendardo di San Giovanni da Capestrano, L'Aquila, Museo Nazionale di Arte Abruzzese).

Caravaggio, Polidoro Caldara da (1490-1543)

(Caldara da Caravaggio, Polidoro; Polidoro Caldara da Caravaggio)

This practitioner was mentioned by Lomazzo (1585,253,cf.101,320; 1590,52,148). Longhi (1929) studied his painting practice without clear analysis of his perspective.

Carlieri Romano, Alberto (1672- c.1720?)

Carlieri Romano, a student of G.Marchi and A. Pozzo, and painter of quadratura, was discussed by Lanzi (1795-1796,572-575).

Carlone, Giovanni Andrea (1591-1630)

Giovanni Andrea Carlone, brother of Giovanni Battista Carlone, also a painter of ceiling decorations (Genoa, Palazzo Brignole-Sale, Galleria), was mentioned by Kellermann (1924, 133).

Carlone, Giovanni Battista (1595-1680) (1572-1677)

Giovanni Carlone a painter of ceiling decorations and quadratura, (e.g.Prioria di San Agnese, Palazzo Spinola, 1630), mainly active in Genoa along with Domenico Piola and Gregorio Ferrari, was mentioned by Kellermann (1924, 133) and Knall-Brskovsky (1984,44-45). The Carlone family took the Italian tradition of ceiling painting to other parts of Europe (e.g. Passau, Linz, Breslau, Prague).

Carlone, Carlo (1686-1775)

Carlo Carlone, along with Giacomo Lecchi and collaborators who were painters of wall decorations and quadratura (Villa near Brescia, Drawing Room, 1745), were mentioned by Milman (9186, 76-77, 87).

Carneri Mattia (1592-fl.1625).

M. Carneri, or B. Longhena were identified by Knall-Brskovsky (1984,pl.35) as possible authors of the high altar (Venice, Santi Giovanni e Paolo) that served as a model for an illusionistic altar by A. Pozzo (Mondovi, San Francesco Saverio).

Caroto da Verona, Giovanni Francesco (1478-1555)

(Da Verona, Giovanni Carota; Verona, Giovanni Carota Da)

Giovanni Caroto da Verona was identified by Vasari (III, 283) as the teacher of Veronese.

Carpaccio (1460/1465-1507/1508)

(Scarpaccia, Vittore)

Carpaccio is best known for his cycle of the Life of Saint Jerome (Venice, Scuola di San Giorgio degli Schiavoni, 1502) and a Life of Saint Stephen (Ex Venice, Scuola di San Stefano, 1511-1520). Carpaccio's perspectival practice was discussed by Vasari (II,140-142). Magagnato (1963) considered the architecture in his paintings. Zorzi (1977, 306-307) related Carpaccio's paintings to stage scenery. Daly Davis (1980) examined Carpaccio's treatment of regular bodies.

Carracci, Agostino (1558-1602)

Agostino, who worked with his brother Annibale and uncle, Ludovico Carracci in establishing an academy of drawing in Bologna, worked with them in painting illusionistic ceilings (Bologna, Palazzo Magnani-Salem, c.1589; Palazzo Fava; Palazzo Sampieri, 1593; Rome, Palazzo Farnese with their students Lanfranco and Reni, 1595-1604), as mentioned by Kellermann (1924, 92-97).

Carracci, Annibale (1555-1609)

Annibale, who worked with his brother Agostino and uncle, Ludovico Carracci in establishing an academy of drawing in Bologna, worked with them in painting illusionistic ceilings (Bologna, Palazzo Magnani-Salem, c.1589; Palazzo Fava; Palazzo Sampieri, 1593; Rome, Palazzo Farnese with their students Lanfranco and Reni, 1595-1604), as mentioned by Kellermann (1924, 92-97).

Carracci, Ludovico (1555-1619)

Ludovico, who worked with his cousins Agostino and Annibale Carracci in establishing an academy of drawing in Bologna, worked with them in painting illusionistic ceilings (Bologna, Palazzo Magnani-Salem, c.1589; Palazzo Fava; Palazzo Sampieri, 1593; Rome, Palazzo Farnese with their students Lanfranco and Reni, 1595-1604), as mentioned by Kellermann (1924, 92-97). His method of perspective was examined by Parronchi (1962).

Casa Dei Cavallieri di Rodi, Master of the (fl.c.1464-1470)

(Master of the House of the Knights of Rhodes)

This Master painted an important series of illusionistic wall paintings in the roof loggia of the House of the Knights of Rhodes (Rome) mentioned by Sandström (1963,96) and Knall-Brskovsky (1984, 31) who dated it before 1464 and c. 1470 respectively.

Castagno di Mugello, Andrea dal (c.1410-1457)

(Andrea del Castagno; Il Castagno)

Castagno is best known for two versions of the Last Supper (Florence, San Marco, c.1480 and Florence, Sant'Apollonia, c.1480) and his perspectival niches with Famous Men and Women (Uomini Illustri, Florence, Sant'Apollonia formerly Legnaia, Villa Pandolfini), a Crucifixion, work at the Villa Carducci and the Tolentino Monument. Castagno's perspectival practice was mentioned by Vasari (II,13-15); studied by Horne (1905), Rosadi (1907), Deusch (1934), Horster (1953), Hartt (1959), discussed by White (1957,145,198-200), Sandström (1963,76ff.,111,pl.45,47) and Knall-Brskovsky (1984,23-24) although none of these made technical studies of his perspectival practice.

Castello, Giovanni Battisti (1547-1637)

(Genovese, El)

Giovanni Battisti Castello painted illusionistic ceilings and walls (Bergamo, Palazzo della Prefettura, originally Gorlaga, Villa dei Lanzi; Genoa, Villa delle Peschere) mentioned by Knall-Brskovsky (1984,35).

Castello Nativity, Master of the (fl. c. 1450-c. 1475)

(Master of the Castello Nativity; Meister der Anbetung von Castello)

The Master of the Castello Nativity was suggested by Berenson as the painter responsible for the copy of Lippo Lippi's Annunciation (Florence, Accademia), which illustrated strict use of perspective and was cited by White (1957, 181-182).

Catena, Vincenzo (c.1470-1531)

(Vincenzo di Biagio)

Paolucci (1966) mentioned Catena's Saint Jerome in his Study (San Gerolamo nello studio) and his Soldier adoring the child Jesus (Guerriero che adora Gesu Bambino, both London, National Gallery).

Caullery, Louis De (fl. 1594-d.1598)

(Caulery, Louis De; Coulery, l. de)

Louis de Caulery was a painter of architectural views.

Schneede (1965) examined his work in relation to Vredeman de Vries.

Cavallini, Pietro (c.1250-c.1330)

Pietro Cavallini was a practitioner of proto-perspective whose great frescoes of the scenes from the Old Testament (Rome, San Paolo fuori le Mura) were destroyed by fire in 1823 but are known through copies (Vatican, Cod. Barberini Lat. 4406). Cavallini is best known for his extant works in Rome such as the Presentation (Rome, Santa Maria in Trastevere, 1291) and the Last Judgment (Rome, Santa Cecilia), which were discussed by White (1957, 49-52).

Caylina, Paolo il Vecchio, detto Paolo di Brescia (fl.1451-1473)

(Paolo di Brescia)

Paolo Caylina was the son in law of Foppa.

Cecilia, Master of Saint (fl. c. 1300)

(Master of Saint Cecilia; Master of the Saint Cecilia Altarpiece; Saint Cecilia Master)

The Master of Saint Cecilia painted an altar with the Life of Saint Cecilia (Florence, Uffizi, c. 1307?), an important example of proto-perspectival practice, which was mentioned by White (1957, 41,47,75)

Cemepino, Giovanni Pietro da (fl. 1450-1510)

(Cemepimo, Giovanni Pietro da; Cemmo, Giovanni da; Da Cemepino, Giovanni Pietro; Da Cemmo, Giovanni da; Pietro da Cemepino, Giovanni Pietro da)

Giovanni Pietro da Cemepino was an early practitioner of perspective who painted a Life of Saint Augustine (Cremona, Sant'Agostino).

Cenni di Francesco di Ser Cenni (fl.1395-1415)

Cenni was a practitioner of proto-perspective who painted a Murder of the Innocents (Volterra, San Francesco) and a Story of the Cross (Oratorio della Croce, 1410) based on A. Gaddi's version.

Cervelliera, Giovanni Battista del (c. 1489-1570)

(Battista del Cervelliera)

Battista del Cervelliera, a Pisan master of marquetry who finished the work of Guido del Servellino and Maestro Domenico di Mariotto was discussed by Vasari (I,328; III,133).

Cervelliera, Giovanni di Francesco dei (c.1426-1459) (1428-1459)

(Cerveilliera; Dei Cerveilliera, Giovanni Francesco; Giovanni da Rovezzano; Giovanni di Francesco del Cervelliera; Giovanni Francesco dei Cerveilliera)

Giovanni Francesco dei Cerveilliera, worked in the workshop (bottega) of Filippo Lippi and painted a predella panel with a Life of Saint Nicholas of Bari (Florence, Casa di Buonarotti, c.1453).

Cesari, Giuseppe (1568-1649)

(Arpino, Cavaliere d'; Cavaliere d'Arpino)

Giuseppe Cesari, a painter of illusionistic ceilings (Naples, Chiesa di San Martino, 1589-1591; Rome, San Prassede, Cappella Olgiati, 1592) was mentioned by Kellermann (1924,72).

Chiarini, Marc Antonio (1652-1730)

M.A. Chiarini, a painter of vault decorations or quadratura who worked in Vienna (Winterpalais des Prinz Eugen, Palais Trautson, Palais Daun Kinsky); with Gaetano Fanti (Vienna, Unteres Belvedere, 1716 and Oberes Belvedere, Gartensaal, 1723), and in Lucca (Palazzo Mansi) was discussed by Sjöström (1978) and Knall-Brskovsky (1984, 139-160). Chiarini, also active in scenography, designed the sets for La Forza della Virtu by A. Perti (Bologna, Teatro Malvezzi, 1694 with 12 engravings by C.A. Buffagnoti, Rome, Gabinetto Nazionale Dei Disegni) and Nerone fatto Cesare (Bologna, Teatro Malvezzi, 1694 with 12 engravings by T. Aldrovandi, C.A. Buffagnotti, G. Mor, Gia. Giovannini now Rome, Gabinetto Nazionale Dei Disegni) was listed by Mancini et al. (1975, 75). Chiarini was the teacher of Pietro Paltronieri detto Mirandolese delle Prospettive.

Chiavistelli, Jacopo (1618-1690)

J. Chiavistelli, active in scenography, who produced the scene of the cortile in a Greek in Troy (Greco in Troia, Florence, 1688), was mentioned by Schnapper (1982, fig. 64). As a painter of illusionistic ceilings (Florence, Santa Maria Maddalena, c.1690), he was strongly influenced by Colonna as mentioned by Kellermann (1924,112).

Chiostro Degli Aranci, Master of the (fl.1435-1440)

The Master of the Chiostro degli Aranci was an early practitioner of perspective whose Miracle of the Ravens was mentioned by Harnest (1971, 15).

Chrétien, Felix (1510-1579)

Felix Chretien was a practitioner of perspective best remembered for his Cellar Scene (Kellerszene, Frankfurt, Städelsches Kunstinstitut, c.1537).

Christus, Petrus (c.1420?-1472)

(Petrus Christus)

Petrus Christus was a practitioner of proto-perspective and may have been the first to use linear perspective in a technical sense in the Low Countries.

Kern (1904) noted Christus' use of linear perspective in his Madonna with Saints Jerome and Francis or Staedel Madonna (Frankfurt, Staedel Museum, 1457) but assumed that he must have learned this from Van Eyck. Doehelemann (1911) claimed that Dirk Bouts was the originator of the single vanishing point construction in the North. Panofsky (1927) followed Kern. Bazin (1952) suggested that he visited Italy and learned perspective there. Levenson (1965) wrote a significant master's thesis on his rational use of space. Harnest (1971,28,102) mentioned him. Since then there have been a series of doctoral dissertations devoted to him: Gellman (1970), Upton (1972) who attributed his perspective to "an empirical development", Schabacker (1974), Collier (1975) and partly, Myers (1978).

Cimabue (1240-1302)

Cimabue was a practitioner of proto-perspective. His frescoes such as Saint Peter Healing the Lame (Assisi, San Francesco) were discussed by White (1957, 23-33).

Cini, Giovan Battista (c.1525-1586)

G.B. Cini, a playwright who wrote the Widow (La Vedova, Florence, 1569) for which Baldassare Lanci produced a perspectival scene of the Piazza della Signoria was mentioned by Stein (1969, 48) and Zorzi (1977).

Cione, Jacopo di, detto Robiccia (fl. 1350-d.1398/1400)

(Di Cione, Jacopo; Robiccia)

Jacopo di Cione, the brother of Andrea di Cione Orcagna and Nardo di Cione, was a practitioner who painted a Life of Saint John Gualbert (Florence, Santa Croce) and a Saint Matthew (Florence, Santa Maria Nuova).

Clerc, Barhelemy De (fl.1447-1476)

(Deyck, B.; De Eilz, B.; De Ecle, B.)

Barthelemy De Clerc to whom the Livre du coeur d'amour esprits has been attributed was discussed by Brion-Guerry (1962, 91). This work was also attributed to René D'Anjou and to the Master of René D'Anjou.

Clérisseau, Charles Louis (1722-1820)

Charles Louis Clérisseau, a painter of illusionistic wall decorations and quadratura (Rome, Santa Trinità dei Monti, 1766), was mentioned by Milman (1986,83).

Cleve, Joos van (c. 1480/1485-1540

(Josse van der Beke; Van der Beke, Joos)

Joos van Cleve painted a Death of the Virgin (Munich, Pinakothek, c. 1520).

Clovio, Giulio (1498-1578)

(Don Giulio; Julio)

Clovio was discussed by Vasari (IV,247) for use of perspective in his famous illuminated manuscripts.

Codognato, Antonio (fl. 1753-1782)

Antonio Codognato, active in scenography, produced a scene for Il Mondo alla roversa by B. Galuppi (Venice, Teatro di San Samuele, 1753 with an engraving now Venice, Museo Correr) and worked with Romualda Mauro on Rosmira fedele by G. Cocchi (Venice, Teatro di San Samuele, 1753, with an engraving by G. Filosi, now Venice, Museo Correr), listed by Mancini et al. (1975, 116-117).

Colantonio (fl.1420 1460)

(Niccolo Antonio)

Colantonio, was a student of René D'Anjou and teacher of Antonello da Messina. Paolucci (1966) mentioned Colantonio's Saint Francis Gives the Rule to the Minor Friars and to the Clarissans (San Francesco da la regola ai Frati Minori e alle Clarisse) (Naples, Museo Nazionale di Capodimonte) and his Death of Saint Vincent Ferrer (Morte di San Vincenzo Ferrer, Naples, Chiesa di San Pietro Martire).

Coleberti, Pietro ()

Coli, Giovanni (1636-1681)

Giovanni Coli and and Filippo Gherardi, painters of illusionistic ceilings, walls and trompe l'oeil provided the contents for quadratura by Johann Paul Schor (Rome, Palazzo Colonna, 1665-1668) as was mentioned by Kellermann (1924, 155-156).

Colin d'Amiens (fl. 1464-1482)

(Daymens, Colin)

Colin d'Amiens was cited as a practitioner by Pélerin (1521,1r) and discussed by Brion Guerry (1962,435).

Collaceroni, Agostino (fl. 1720)

A. Collaceroni, a student of Pozzo who specialized in quadratura (Ascoli Piceno, Sant'Angelo Magno), was discussed by Lanzi (1795-1796,572-575).

Colli, Antonio (fl. 1725)

Colli was a student of Pozzo whose perspectival practice was discussed by Lanzi (1795-1796,572-575).

Colombe, Jean (fl. after 1467-d.1529)

(Jean Colombe)

Jean Colombe, a practitioner of proto-perspective, is said to have finished the Très riches heures du Duc de Berry (Chantilly, Musée Condé, 1485-1489) which the Limbourg brothers, Pol, Herman and Jean began (1413-1416).

Colonna, Angelo Michele (1600-1687)

A.M. Colonna, a student of G. Curti, may have begun working with him in San Marino (Villa Paleotti, before 1623) according to Feinblatt (1975) and continued working with him (Parma, Chiesa di Alessandro). Colonna became an important painter of quadratura, who worked closely with A. Mitelli, (e.g. Florence, Palazzo Pitti, Museo degli Argenti, Triumph of Alexander, 1636-1641; Sassuolo, Castello Estense, 1646); with G. Pizzoli (Bologna, Palazzo D'Accursio (i.e. Palazzo Communale), Sala Consiglio, 1674-1677; with G. Curti (e.g. Bologna, Palazzo Communale), was mentioned by Kellermann (1924, 105), Knall-Brskovsky (1984, p. 52, pl. 15-17) and by Milman (1986,43). Svensson (1965) published a series of unedited drawings by Colonna particularly from the Accademia di Belle Arti (Bologna).

Conca, Sebastiano (1679-1776)

Sebastiano Conca, a student of Solimena who painted illusionistic ceilings (Naples, Santa Clara), was mentioned by Kellermann (1924, 154-155).

Conca, Tommaso (fl.1770-d.1815)

Tommaso Conca, a nephew and student of Sebastiano Conca, who worked on illusionistic ceilings (Rome, Casino, Ludovisi), was discussed by Kellermann (1924, 158).

Conegliano, Cima da (1460-1517) (1459/1460-1517/1518)

(Giovanni Battista da Conegliano)

Cima da Conegliano's perspectival practice has been studied by Zava Boccazzi ().

Coppin Delft (c.1456-c.1488)

(Copin)

Described as a practitioner by Pélerin (1521,1r), he was studied by Arnaudet (1858-1860) and Brion-Guerry (1962, 100, 433-434), who suggested him or Georges Trubert as a possible author of the Bréviaire de René II (Paris, Bibliothèque de l'Arsenal, no. 620), often thought to be of the same hand as Songe du Pastourel (Vienna, Osterreichische Nationalbibliothek, no. 2556) and the Diurnal de René II (Paris, Bibliothèque Nationale, ms. lat, 10491). Coppin was also mentioned by Harnest (1971,34).

Coppola, Giovan Carlo (fl. c. 1600?-c. 1650?)

G. C. Coppola, author of Le nozze degli Dei (Florence, Cortile di Pitti, 1637), which was choreographed by Stefano della Bella and contained perspectival sets, was discussed by Zorzi (1977, 136-137).

Correggio, Antonio da (c.1494-1534)

(Allegri, Antonio; Antonio da Corregie)

Correggio, a painter of illusionistic ceilings (Parma, Convento di San Paolo; Parma, San Giovanni Evangelista, 1520-1524; Parma, Cattedrale, 1524-1530). His perspectival practice was discussed by Vasari (II,172), Lomazzo (1585,270), and Kellermann (1924), mentioned by Fiocco (1939) and studied by Bevilaqua (1970). Battisti et al. (1971) made a computerized study of his painted cupola in the cathedral at Parma. Shearman (1980) explored his use of overhead illusion.

Cortona, Pietro Berettini da (1596-1669)

(Berrettini da Cortona, Pietro)

Pietro Berettini da Cortona, an architect, integrated architectural features of vaults into his quadratura paintings of ceilings (Rome, Palazzo Barberini, Sala delle Feste), 1631, 1637-1639; Florence, Palazzo Pitti, 1637-1663: e.g. Sala di Venus, 1641, Sala di Mars, 1645-1647, Sala di Giove, 1647, Sala di Apollo, 1660-1663 finished by his student Ciro Ferri; Rome, Santa Maria in Navicella, 1647-1651; Rome, Chiesa Nuova, 1655-1656) was discussed by Kellermann (1924, 118-124).

Cosimo, Piero di (c.1462-after 1515)

(Di Cosimo, Piero; Piero di Cosimo)

Piero di Cosimo, a student of Cosimo Roselli, was a practitioner of perspective to whom was ascribed a Portrait of a Man in Armour (London, National Gallery), with a view of the Palazzo Vecchio possibly related to Ghirlandaio's work as discussed by White (1957, 133, n.43).

Cossa, Francesco del (1436-1477/1478)

(Del Cossa , Francesco)

Cossa painted a Life of Saint Vincent Ferrer (London, National Gallery, formerly, Bologna, San Petronio, post 1474). Cossa and Ercole de'Roberti painted the predella panels of the Life of Saint Vincent Ferrer (Rome, Vatican, n.286, c.1475-1477).

Cossali, Grazio (1563-1629)

Grazio Cossali's use of space was analysed by Wakayama (1974).

Cozzarelli, Guidoccio di Giovanni (1450-1517)

(Di Giovanni Cozzarelli, Guidoccio)

Guidoccio di Giovanni Cozzarelli painted a Baptism of Christ (Sinalunga, San Bernardino).

Cranach, Lucas, the Elder ( 1472-1553)

Lucas Cranach was an early practitioner of perspective in Germany. Harnest (1971,34) analysed his Holy Family (Die Heilige Sippe, Frankfurt, Staedel, 1509); his Man of Sorrows (Der Schmerzensmann, Dresden, 1515) and two versions of his Cardinal Albrecht von Brandenburg as Saint Jerome in a Room (Kardinal Albrecht von Brandenburg als Heilige Hieronymus im Gehäuse, Darmstadt, 1525 and Sarasota, 1526).

Cranach, Lucas, the Elder, Workshop of ( fl. c. 1532-1538)

(Cranach, Werkstatt)

The Workshop of Lucas Cranach the Elder painted an interesting example of perspective (Washing of Christ's Feet by the Apostles, Fusswaschung der Apostel, Berlin, Gemäldegalerie, 1537).

Cremona, Gerolamo da ()

(Da Cremona, Gerolamo; Gerolamo da Cremona)

Gerolamo da Cremona painted illusionistic wall decorations (e.g. Rome, Palazzo Venezia, Sala dei Paramenti, Frieze) mentioned by Sandström (1963, pl.42).

Cristiani, Giovanni di Bartolommeo (fl.1350-1399)

(Giovanni di Bartolommeo Cristiani)

Giovanni di Bartolommeo Cristiani was a practitioner of proto-perspective who collaborated with Nardo di Cione (Pistoia, Duomo).

Cristofano, Maestro (fl. c.1470)

Maestro Cristofano was mentioned by Benedetto Dei (c.1470,90r) as one of the masters of marquetry active in Florence at the time.

Crivelli, Carlo (fl.1457-1493)

Carlo Crivelli was a practitioner of perspective known for his Annunciation (London, National Gallery, 1486) and his Virgin and Child with Saints Jerome and Sebastian (Madonna della Rondine; La pala Odoni, London, National Gallery, after april 1490).

Crosato, Giovan Battista (c.1697-1756)

Crosato, active as a rococo painter in Turin was studied by Griseri (1961).

Curti, Girolamo (1575-1632) (1570-1632)

(Dentone)

Girolamo Curti, a painter of vault decorations (e.g. San Marino, Villa Paleotti, c.1616-1622; Parma, Teatro Farnese, 1618), mainly active in Bologna was discussed by Sjöström (1978) who suggested either Curti or his student A.M. Colonna as possible author of a quadratura drawing (Bologna, Accademia di Belli Arti, c.1630) for, or after the vault of the Sala Urbana (Bologna, Palazzo D'Accursio, i.e. Palazzo Comunale), and mentioned by Kellermann (1924, 105) and Knall-Brskovsky (1984,51-52).

Daddi, Bernardo (fl.c.1312-1348)

Bernardo Daddi was a practitioner of proto-perspective who painted a Martyrdom of Saint Lawrence and a Martyrdom of Saint Stephen (Florence, Santa Croce, Capppella Pulci e Beraldi).

Danti, Vincenzo (1530-1576)

According to Knall-Brskovsky (1984,39), Vincenzo Danti produced an engraving (1562) of an illusionistic ceiling (quadratura) in Bologna (Palazzo Vizzani, Sala di Constantino) which Sjöström (1978,pl.10) claimed was by Tommaso Laureti. It was published in E. Danti's edition of Vignola (1583).

Daret, Jacques (1400/1403-1468)

Jacques Daret, a student of Robert Campin, was a practitioner of proto-perspective in the Low Countries.

Daret, Pierre (1604-1678)

Pierre Daret, a painter of illusionistic wall decorations (Aix en Provence, Hotel de Chateaurenard, 1654), was mentioned by Milman (1986, 73).

Darmstädter Passion, Master of the (fl. c. 1450?)

Meister der Darmstädter Passion)

The Master of the Darmstädter Passion painted two examples of proto-perspective, Adoration of the Kings, (Anbetung der Hl. Drei Könige and the Veneration of the Cross, (Die Verehrung des Hl. Kreuzes, both Berlin, Gemäldegalerie, Kat Nr. 1205-1206).

Davanzati, Master of the Palazzo (fl.1395)

This anonymous artist painted the trompe l'oeil scenes with colonnaded arches based on La Chastelaine de Vergi, a Florentine translation of a French poem on courtly love, for the marriage of Francesco Tomaso Davizi and Castelana degli Alberti (1395).

David, Gerard (c.1460-1529) (fl.1484-d.1523)

Gerard David, a practitioner of perspective in the Low Countries, painted The Justice of Cambyses (Bruges, Musée communal, 1498) and an Annunciation (Frankfurt, Städelsches Institut, c.1520).

Castelnuovo (1966) mentioned his Mystic Marriage of the Saint Catherine (Sposalizio mistico di Santa Caterina also called the Virgin and Child with Saints and Donor, London, National Gallery, 1463). Collier (1975) in a significant dissertation on Petrus Christus and Dirk Bouts analysed some of his paintings.

David, Jacques Louis (1748-1825)

David was the chief painter of the neo-classical school in France.

W. Kemp (1986) examined his new uses of perspective in relation to revolutionary ideas and architecture.

Degas, Edgar (1834-1917)

The perspectival practice of the famous impressionist painter, Degas was studied by Olmer (1936-1937).

Delen, Dirck Van (1604/1605-1671)

(Van Delen, Dirck)

Dirck van Delen was an important practitioner of perspective specialising in architectural views such as his Architectural Fantasy (London, National Gallery)

Schneede (1965), Ballegeer (1967) and Liedtke (1970-1971) examined his work in relation to Vredeman de Vries. Some of his paintings were cited in the catalogue by Giltaij (1991).

Dello (1404-1453)

Vasari (I,221) discussed Dello's perspectival practice.

Desiderio, Monsu Francesco (fl. 1621-1623)

(Franciscus di Nomè; Desiderio da Pistoia, Francesco; Barra, Didier)

Monsu Desiderio, a seventeenth century painter of phantasy ruins, was discussed by Scharf (1950), Urbani (1950) and Sluys (1954) and Maltese (1956), each offering examples of spatial effects, although none of these authors analysed his paintings in terms of their perspective. Berenson (1956) discussed a painting with Scenes from the Passion of Christ by a follower of Jacopo Bellini around 1460 which prefigured his style.

Diana, Benedetto (c. 1460-1525)

Paolucci (1966) cited Diana's Madonna enthroned with Child among Saints and Donors (Madonna in trono col Bambino tra Santi e Committenti, Venice, Ca'd'Oro) and his Madonna with Child Between Saints Jerome and Francis (Madonna col Bambino tra i Santi Girolamo e Francesco, Venice, Galleria dell'Accademia).

Dipre, Nicolas (1495-1531)

(Master of Life of the Virgin; Maestro della Vita della Vergine)

Nicolas Dipre was a practitioner of proto-perspective. Castelnuovo (1966) mentioned his Marriage of the Virgin (Denver, Art Museum).

Diziani, Antonio (1737-1797)

Antonio Diziani painted perspectival views, or vedute, of Venice (Zyklus von 6 Darstellungen venezianischer Feste und Zeremonien, Berlin, Gemäldegalerie, Streit Nrn. 7-12, 1758-1763).

Domenichino (1581-1641)

(Zampieri, Domenico)

Domenichino, active in painting illusionistic ceilings (Rome, Sant'Andrea, c. 1621; San Carlo ai Catenari; Palazzo Castaguti, Sala di Apollo) was mentioned by Kellermann (1924, 98-99).

Domenico da Piacenza (fl. 1467-1477)

Da Piacenza, Domenico; Piacenza, Domenico da)

Domenico da Piacenza, who worked with Francesco da Parma on marquetry (Padua, Basilica di Santa Giustina, Coro Vecchio, 1467-1477), was mentioned by Zorzi (1977,309).

Domenico Veneziano (c.1400-1461)

(Viniziano)

Domenico Veneziano, who went from Venice to Florence in 1439 where he became the teacher of Piero della Francesca, was discussed by Vasari (II,15;IV,299). White (1957,185) mentioned his Saint Zenobius and the Fallen Youth (), his Annunciation () and his Madonna and Child Enthroned with Standing Saints (Saint Lucy Altarpiece, Florence, Uffizi, c.1445). Domenico Veneziano has been somewhat studied by Wohl (1958), Battisti (1960, 1971), Ubans (1971) and Welliver (1973). Edgerton (1975, 57,59) offered two alternative analyses of the Saint Lucy Altarpiece.

Donatello (1386-1466)

(Donato)

Donatello was an important practitioner of proto-perspective applied to sculpture. Best known are his Saint George and the Dragon (Florence, Or San Michele); Dance of Salome (Siena, Baptistery), scenes from the Life of John the Baptist: The Resurrection of Drusiana, The Assumption of Saint John the Baptist (Florence, San Lorenzo); scenes from the Life of Saint Anthony: The Miracle of the Speaking Babe, The Presentation of the Host to the Mule , The Healing of the Wrathful Son and The Miracle of the Miser's Heart (Padua, Sant'Antonio), and the pulpit with the Martyrdom of Saint Lawrence and the Maries at the Tomb (Florence, San Lorenzo).

Donatello's perspectival practice was discussed by Vasari (I,233,238,264,301,308-309). Modern study of his contributions began with Semper (1875), Schottmüller (1904), Fecheimer (1904), Zucker (1913) and Oertel (1933). Guidaldi (1932) made a fundamental study of the main altar of Sant'Antonio in Padua, showing the disposition of but not analysing the perspectival bronze sculptures. Kaufmann (1935) made a first fundamental study of his work. Since then there have been articles by White (1951), Morisani (1952), a major two volume study by Janson (1957), Chastel (1958, 1966), Romanini (1966), a significant article by Parronchi (1966), Ronchi (1966), Becherucci (1968), and Seymour (1968). White's book (1957, 148-160, 164-167) remains the most succinct statement of his spatial contributions.

Donau Master (fl.1500)

(Donaumeister, Niederländisch geschulter; Niederländisch geschulter Donaumeister)

A Donau Master, linked with Altdorfer and trained in the Netherlandish tradition was identified by Halm (1951) as the possible author of a number of architectural drawings now at Schloss Wolfegg. These were also mentioned by Harnest (1971,97-98).

Donzello, Pietro del (1452-1508/1509)

(Pietro del Donzello)

Pietro del Donzello was suggested by Fabbri, Zorzi, Tofani, (1975, 76-79) as the painter of the famous Berlin Panel (Berlin, Bode Museum) showing an idealized city which has been variously attributed to Piero della Francesca and Luciano Lauranna.

Duccio di Buoninsegna (fl. 1282-1339)

Duccio, an important practitioner of proto-perspective, best known for his Maestà (Siena, Opera del Duomo), which repeated spatial motifs to develop continuity in the narrative, was discussed by White (1957,78-83).

Early Life of Christ, Master of the (fl. c. 1315?-c. 1320?)

(Master of the Early Life of Christ)

The Master of the Early Life of Christ, along with the Master of the Magdalen Chapel and Taddeo Gaddi, was one of the three closest followers of Giotto according to White (1957, 103), who described him as a practitioner of proto-perspective working in the north transept of the Lower Church (Assisi, San Francesco). Poeschke (1985) referred to this work as Giotto workshop.

Elsevier, Louys Aernoutsz (1618-1675)

Louys Elsevier, was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Erri, Agnolo degli' (fl.1448-1463)

(Bartolomeo degli'Erri; Degli' Erri, Bartolomeo)

Agnolo, the elder brother of Bartolomeo degli'Erri, was a student of Simone Lamberti and worked on panels of Dominican saints (see next entry).

Erri, Bartolomeo degli' (fl.1460-1476)

(Bartolomeo degli'Erri; Degli' Erri, Bartolomeo)

Bartolomeo, younger brother of Agnolo degli'Erri, and also a student of Simone Lamberti, painted the panels of a polyptych with the Life of Saint Thomas Aquinas (New York, Metropolitan, 23.140, c.1466) and a Life of Saint Vincent Ferrer (Vienna, Kunsthistoriches, c.1475), which were originally two of four polyptychs dedicated to four Dominican Saints (Modena, San Domenico). The first in this series was done by his teacher, Simone Lamberti.

E. S., Master (c.1425-fl.1466)

(Maitre E.S.; Master E.S.)

The Master E. S., who painted the Madonna of the Pilgrimage Place of Einsiedeln (La madone du pélérinage d'Einsiedeln (Einsiedeln, 1466) ), was cited by Brion-Guerry (1962,114) as an example of very subtle perspectival techniques.

Eyck, Hubert Van (c.1370-1426)

(Van Eyck, Jan)

Hubert, the brother of Jan Van Eyck painted an Annunciation which was mentioned by White (1957,225).

Eyck, Jan Van (c.1390-1441)

(Van Eyck, Jan)

Jan, the brother of Hubert Van Eyck was praised by Fielding (1836,12) as "one of the earliest mentioned cultivators of perspective since the revival of painting in which he is stated by Bartolommeo Bramantino to have been almost unrivalled, an assertion ably supported by his paintings". An article by Von Tschudi (1899) examined his Madonna with a Carthusian monk. Seeck (1901) described distinguishing characteristics of the van Eyck brothers. The first serious study of his work was a landmark article by Kern (1904) which reconstructed the perspectival lines of 14 paintings and claimed that mastery of perspective could be used as a tool in determining the chronology of these paintings. This was challenged by Doehlemann (1905, 1906, 1911, 1912), who insisted that van Eyck had not known the technical laws of perspective. Kern (1912) pursued his studies now showing that his paintings depicted real churches: that the round church in the Madonna with the Canon van der Paele (Brugge) was linked with St. Sépulchre in Neuvy near Dijon; that the building in the Church Madonna (Kirchen Madonna, Berlin, Dahlem) was linked with St. Bénigne in Dijon and that the Annunciation (Leningrad, Hermitage) was linked with Notre Dame of Dijon which led him to claim that van Eyck must have lived in Dijon and probably learned rules of proto-perspective from Broederlam there. All three of these churches had links with the Church of the Holy Sepulchre in Jerusalem. This was discussed by Neut (1912). Panofsky (1927) drew attention to the Funeral (Totenoffizium), one of seven illuminated folios by Van Eyck in the Heures de Milan, i.e. the Tres Belles Heures de Notre Dame (formerly Milan, Biblioteca Trivulziano, now Turin, Museo Civico, 1415-1417), and related to the Heures de Turin (Ore di Torino). Andrieu (1929) analysed Van Eyck's Presentation in the temple which had just been acquired by the Louvre. Panofsky (1935,1938) focussed attention on the Friedsam Annunciation or Friedsam Altarpiece (New York, Metropolitan Museum). White (1957, 108, 225) mentioned his Annunciation, Arnolfini Portrait, Madonna of the Chancellor Rolin (or Rolin Madonna, Paris, Louvre, 1435), Van der Paele Altarpiece, Virgin Enthroned and Virgin in Church. Brandi (1960) and Brand-Philip (1967) reconsidered van Eyck's contribution as did Collier (1975) in a dissertation on Petrus Christus. Frohlich-Bume (1966) drew attention to Van Eyck's Madonna of Ypres (Warwick Castle). Harnest (1971,8-9) analysed his Madonna of the Chancellor Rolin and the Friedsam Annunciation (New York, Metropolitan). Ragghianti (1977, 489) mentioned a drawing of an Annunciation (Wolfenbüttel, Herzog August Bibliothek, c.1400) and considered his influence on Italian art. Carleton (1980) used a computer to reconstruct the perspective of the Arnofini Portrait (London, National Gallery) and related paintings by van Eyck.

Fabriano, Antonio Da (fl.1450-1485)

(Antonio da Fabriano; Da Fabriano, Antonio)

Antonio da Fabriano was an early practitioner of perspective, remembered for frescoes in Fabriano (San Domenico, post 1472).

Fabriano, Francesco Di Gentile Da (fl. 1450-1500)

(Di Gentile Da Fabriano, Francesco; Da Fabriano, Francesco Di Gentile; Francesco Di Gentile Da Fabriano; Gentile Da Fabriano, Francesco Di)

Francesco Di Gentile Da Fabriano was an early practitioner of perspective who painted a triptych (Matelica, San Francesco).

Fabriano, Gentile Da (c.1370?-1450)

(Da Fabriano, Gentile; Gentile da Fabriano)

Gentile da Fabriano was an early practitioner of proto-perspective. Vasari (II,18) mentioned his contribution to chiaroscuro. He is best known for his Adoration of the Magi (Florence, Uffizi, 1423), the predella of which (original Paris, Louvre) contains a spatially rendered building akin in shape to the Baptistery in Florence, which was the subject of Brunelleschi's experiment that same decade.

Fabritius, Carel (1622-1654)

Carel Fabritius was a practitioner of perspective best known for his View of Delft (London, National Gallery, 1652).

Bredius (1910) provided biographical notes. Wheelock (1973,1977) suggested that Fabritius probably used an optical aid such as a camera obscura to achieve the effects of his View of Delft. Liedtke (1976) argued that Fabritius was experimenting with anamorphosis and intended that the panel be on a hemi-cylindrical surface. Brown (1981) returned to these debates in his complete edition of the artist's works, acutely reviewed by Ruurs (1982) who offered an alternative explanation.

Fanti, Gaetano (1687-1749)

Gaetano Fanti, son in law of Chiarini, a painter of illusionistic ceilings and quadratura (Vienna, Karlskirche, Oberes Belvedere and Palais Dietrichstein-Lobkowitz; Stift Melk, Bibliothek, Kolomanisaal, Marmorsaal and Prälatensaal, on which he worked with J.M. Rotmayr; Györ, Jesuitenkirche) was studied by Knall-Brskovsky (1984, pl. 54-66).

Farinati, Giovanni Battista (1532-1592)

(Battista da Verona, Zelotti, Giovanni Battista)

G.B. Zelotti painted an illusionistic wall (Fanzolo, Villa Emo) mentioned by Knall-Brskovsky (1984,42).

Ferrara, Engineers of (fl. 1543)

According to Povoledo (1975, 1596) engineers at Ferrara, who designed the stage scenery for the Castello di Gorgoferusa (1561), were possibly among the first to introduce moveable stage designs. Bastiano da Sangallo (1543) and Baldassare Lanci (1567) were also mentioned in this context.

Ferrari, Gaudenzio (c.1480-1546)

(Gaudentio Ferraro da Valdugia Milanese; Gaudenzio de Vincio, Vince, Vincius)

Ferrari was an early practitioner of perspective mentioned by Lomazzo (1585,101,320; 1590 52,148-149,16).

Ferrari, Antonio De (1644-1726)

Antonio De Ferrari, a painter of ceiling decorations and quadratura (Genoa, Palazzo Brignole-Sale, Sala della Primavera), was mentioned by Kellermann (1924, 134).

Ferrari, Gregorio De (1644-1726)

(De Ferrari, Gregorio)

Gregorio Ferrari, a painter of quadratura, active in Genoa along with Domenico Piola and Giovanni Andrea Carlone, was mentioned by Knall-Brskovsky (1984,45).

Fiore, Jacobello del (fl.1394-d.1439)

(Jacobello del Fiore)

Jacobello del Fiore was a practitioner of proto-perspective who painted a Life of Saint Lucy (Fermo, c.1415).

Fiorenzo di Lorenzo (1440-1522/1523)

(Di Lorenzo, Fiorenzo; Lorenzo, Fiorenzo di

Fiorenzo di Lorenzo painted eight panels of the Life of Saint Bernardine (Perugia, 1473)-- which Paolucci (1966) attributed to the Master of the Gardner Annunciation-- and a Mystic Marriage of Saint Catherine (Perugia, Galleria Nazionale, formerly Perugia, San Giorgio, 1498).

Flémalle, Master of (c.1375-1444)

(Campin, Robert; Robert Campin)

The Master of Flémalle, a practitioner of proto-perspective, used oblique settings in paintings such as the Betrothal (Dijon) and the Nativity (Dijon, c. 1420-1425) mentioned by White (1957,234,n.24). He is also known for Miracle of the Rod and Betrothal of the Virgin (Madrid, Prado, c.1420) and his Virgin and Child before a Fire Screen (London, National Gallery, c.1420-1425).

Florigorio, Sebastiano (c.1500-1540/1543 or after 1543)

(Florigorio, Bastianello)

Florigorio was dicussed by Vasari (II,237) as a pupil of Giovanni Antonio Licinio da Pordenone.

Forli, Ansuino da (fl.1400-1450)

(Ansuino da Forli; Da Forli,Ansuino)

Ansuino da Forli painted a Sermon of Saint Christopher (Padua, Eremitani).

Fouquet, Jean (c.1420-1480)

Fouquet is best known for his Heures d'Etienne Chevalier (Chantilly, Musée Condé), remarkable for its views of real buildings (such as the Sainte Chapelle and Notre Dame in Paris) and for curvilinear effects which have been described as synthetic perspective by White (1949). He also illustrated Boccaccio's Decameron (Munich, Bayerische Staatsbibliothek, Cod. gall, 6, fol., c.1458.), the frontispiece to Statuts de l'ordre de Saint Michel écrits par Louis XI (Paris, Bibliothèque Nationale, ms. fr. 19819, c.1469); Antiquités Judäiques (Paris, Bibliothèque Nationale, ms. fr. 247 et nouv. acq. fr. 21013, c.1470), Grandes Chroniques de la France (Paris, Bibliothèque Nationale, ms. fr. 6465); the Histoire de Priscus Tarquin in the Tite Live de Versailles (Paris, Bibliothèque Nationale, ms. fr. 273, c.1475); Tite-Live de Rochechouart ou de la Sorbonne (Paris, Bibliothèque Nationale, ms. fr. 20071, 1478) which are important documents showing the development of mainly proto-perspective within the tradition of miniatures in illuminated manuscripts. Brion-Guerry (103) also mentioned the Heures de Baudricourt (Collection Charnacé) as the work of an imitator of Fouquet and referred to the Master of Jouvenel des Ursins as an another important follower.

It is thought likely that Fouquet learned the principles of perspective from Filarete whom he probably met when returning from Naples via Florence to Paris. Cited by Pélerin (1521,1r), Fouquet was discussed by Perls (1940), Pächt (1940-1941), and studied somewhat by White (1949; 1957, 226-229), Gioseffi (1957) and Brion Guerry (1962, 105-111, 432-433). Even so no-one has ever studied in detail the remarkable spatial effects in all his manuscripts.

Franceschi, Francesco de (fl.1443-1468)

(De Franceschi, Francesco; Francesco de Franceschi)

Francesco de Franceschi painted predella panels with a Life of Saint Mamas (Venice, Museo Correr).

Franceschini, Marc Antonio (1648-1729)

Marc Antonio Franceschini, a student of Bibiena, who worked with Cignani, then Bologna (Palazzo della Giustizia, 1680; Santa Caterina Vigri, 1689-1691) and later in Genoa with Quaini and Haffner (1696), was mentioned by Kellermann (1924, 113).

Francesco, Giovanni di (fl. 15th c.)

Paolucci (1966) mentioned Giovanni di Francesco's Saint James (Lyon, Musée des beaux arts).

Francesco da Parma (fl. c.1467?-c.1477?)

Da Parma, Francesco; Parma, Francesco da)

Francesco da Parma, who worked with Domenico da Piacenza on marquetry (Padua, Basilica di Santa Giustina, Coro Vecchio, 1467-1477), was mentioned by Zorzi (1977,309).

Francia, Domenico (1702-1758)

Domenico Francia, who came to Vienna as a student of Giuseppe Galli Bibiena, was a painter of quadratura (Stift Klosterneuburg, 1723; Vienna, Schwarzspanierkirche, c.1732; Schloss Weikershof bei Baden, Orangerie, 1736; Stockholm, Royal Castle, Ball Room "Vita Havet", 1737-1741; Stiftskirche in Herzogenburg, 1753-1756; Stift Sankt Florian, 1750) was studied by Sjöström (1978) and discussed by Knall-Brskovksy (1984, 238-240).

Franciabigio (1482-1525)

(Francesco di Cristofano)

Vasari (II,369-371) discussed the perspectival practice of Franciabigio.

Parronchi (1962) attributed to him the famous Urbino panel of an ideal city which he claimed was intended as a model for the play La Mandragola.

Francione, Francesco di Giovanni di Francesco detto (1428-1495)

(Fondamenti, Francione da; Francione)

Francione was cited by Benedetto Dei (c.1470,90r), as a master of marquetry (cf. Uzielli,1894,207) and according to Vasari (II,211), taught Giovanni and Antonio da Sangallo the art of marquetry.

Francis Legend, Master of the Saint (fl. 1260-1272)

(Franciscus Master; Master of Legend of Saint Francis; Master of the Saint Francis Legend; Meister der Franziskusmeister)

The Master of the Saint Francis Legend, an important practitioner of proto-perspective, was discussed at length by White (1957, 33-47). Much of the work atttributed to him has also been associated with Giotto.

Francke, Master (before 1400-c.1427) (fl. c. 1400-1435)c

(Francke, Meister; Master Franke; Meister Franke)

Master Francke, a practitioner of proto-perspective influenced by the French tradition who painted the Saint Thomas Altar (Hamburg, Kunsthalle, 1424), was mentioned by Harnest (1971,38).

Franco, Battista (1498-1561)

Vasari (IV,24-25,19,21) discussed the perspectival practice of Battista Franco.

Fries, Hans (c. 1460-1523) (c.1465-1518)

Fries was cited as a practitioner by Pélerin (1521,1r). Leitschuh (1919) examined his contribution as a drawer. He was discussed briefly by Brion-Guerry (1962, 436).

Froment, Nicolas (fl. 1450-1490)

Nicolas Froment, a member of the entourage of René d'Anjou with Flemish traits, was mentioned by Brion-Guerry (1962,92).

Frühauf, Rueland (1440-1507)

Rueland Frühauf was an early practitioner of proto-perspective mentioned by Harnest (1971, 103).

Fumiani, Giovanni Antonio (1643-1710)

(Fumiano, A.)

G. A. Fumiani, a student of Domenico Ambrogi, a painter of illusionistic ceilings and quadratura (e.g. Venice, San Pantaleone, 1684-1704), was mentioned by Kellermann (1924, 148) and discussed by Knall-Brskovsky (1984).

Gabriel

Gabriel was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,441) linked with Gabriel Salmon, son of Bernard de Heidelberg.

Gaddi, Agnolo (c.1333?-1396)

Agnolo Gaddi was an early practitioner of proto-perspective who painted an Annunciation (San Miniato del Monte, Cappella del Crocifisso, 1396) and a Story of the True Cross (Florence, Santa Croce, Choir, 1385-1395).

Gaddi, Taddeo (1290-1366)

Taddo Gaddi was an early practitioner of proto-perspective who painted a Confirmation of the Rule of Saint Francis (Florence, Accademia) and a Life of the Virgin (Florence, Santa Croce, Baroncelli Chapel, 1367ff) which included a Virtue holding an armillary sphere, a trompe l'oeil architectural niche. and a much copied Presentation of the Virgin. He also painted a Confirmation of the Rule of Saint Francis (Florence, Accademia). White (1957, 103-104, 108) mentioned this, his Annunciation to the Shepherds (Florence, Santa Croce, Baroncelli Chapel) and a Last Supper (Florence, Santa Croce, Refectory). According to White (1957, 103), Taddeo Gaddi, along with the Master of the Early Life of Christ and the Master of the Magdalen Chapel were the three closest followers of Giotto who worked in the Lower Church (Assisi, San Francesco). Poeschke (1985,111-114), while acknowledging Daddi's influence, attributed this work to Pietro Lorenzetti.

Gaiola dalla Nunziate, Giovanni da

(Dalla Nunziate)

Galliari, Bernardino (1707-1794)

Bernardino and Fabrizio Galliari were painters of wall decorations and quadratura (e.g. Castelazzo di Bollate near Milan, Villa Castelazzo, Sala di Apollo, c. 1752; near Chambery in Savoie, Chateau des Marches, 1785-1790) discussed by Sjöström (1978, pl.64) and Milman (1986,78). Active in scenography, Bernardino worked with his brother on the scenes for Enea nel Lazio by T. Traetta (Turin, Teatro Regio, 1760, 9 drawings for which are now Varese, Raccolta Pogliaghi) as listed in Mancini et al. (1975,125-126).

Galliari, Fabrizio (1709-1790)

Fabrizio and Bernardino Galliari were painters of wall and ceiling decorations (e.g. Castelazzo di Bollate near Milan, Villa Castelazzo, Sala di Apollo, c. 1752) discussed by Sjöström (1978, pl.64) and Milman (1986,78). Active in scenography, Fabrizio worked with his brother on the scenes for Enea nel Lazio by T. Traetta (Turin, Teatro Regio, 1760, 9 drawings for which now Varese, Raccolta Pogliaghi), and on his own made a scene of a Rustic Piazza Illuminated by Various Lanterns (Piazza rustica illuminata da varie laterne, Turin, Teatro Carignano, 1774, now Turin, Museo Civico), and a Remote Place outside of Rome (Luogo rimoto fuori di Roma) for Lucio Silla by M. Mortellari (Turin, Regio, 1778-1779) as listed in Mancini et al. (1975,125-126).

Galli, Giovanni Maria (fl. 1625-1665)

(Bibiena, Giovanni Maria)

Born in Bibiena, Giovanni Maria Galli became a disciple of Albani. Since there was another disciple of the same name in the workshop he became known as Bibiena, which stuck and remained in place for all ten of the Bibiena family of whom eight were architects of thestre scenes. Prota Giurleo (1960) surveyed the activities of the family, focussing on Naples.

Galli Bibiena, Antonio (1700-1774)

A. Galli Bibiena, a painter of quadratura and theatre decorations, to whom the ceiling of the former Jesuitentheater (Vienna) is attributed and whose work is represented in the Werkskizzenbuch der Familie Galli Bibiena (Vienna, Theatersammlung der Nationalbibliothek), was discussed by Knall-Brskovsky (1984, 189, 234-238). He also did an illusionistic drawing room (Verona, Casa Ferrari-Cartolari, 1765) and the ceiling in the Chapel of the Holy Sacrament (Sabbioneta, Chiesa della Assunta, 1773), discussed by Milman (1986,56,87).

Galli Bibiena, Carlo (1721-1787)

Carlo Galli Bibiena, active in scenography, designed the scenes for Cerere Placata by N. Jommelli (Naples, Palazzo del Duca d'Arcos, 1772, with 5 engravings by C. Nolli reproduced in Lettera a un amico sulla quale si da ragguaglio della funzione...Naples, 1772) was listed by Mancini et al. (1975,95-96).

Galli Bibiena, Ferdinando Antonio ()

Ferdinando Antonio, son of Giuseppe Galli Bibiena, active in scenography in Dresden (1769) is said to have produced an engraving of a Space destined for the Custody of Prisoners (Recinto destinato alla custodia de prigionieri) one of 7 scenes for Talestri, Queen of the Amazons (Talestri, Regina delle Amazzoni, published Leipzig, 1765, original now Munich, Theatermuseum) listed by Mancini et al. (1975, 106).

Galli Bibiena, Francesco (1659-1739)

F. Galli Bibiena, a painter of quadratura (Bologna, Palazzo Fantuzzi, 1679; Vienna, renovated Hoftheater of Leopold I, 1699-1701) and theatre decorations, was discussed by Knall-Brskovsky (1984, 232-233).

Galli Bibiena, Giovan Carlo Sicinio (1713?-1760)

Giovan Carlo Sicinio Galli Bibiena, active in scenography, designed the scenes for The Clemency of Titus (La Clemenza di Tito) by A. Mazzoni (Lisbon, Teatro del Tejo, 1755 with 7 engravings by M. B. Dourneau now Rome, Bibioteca musicale di Santa Cecilia) was listed by Mancini et al. (1975,95).

Galli Bibiena, Giovanni Maria (fl.1739-1769)

Giovanni Maria Galli Bibiena, active as a scenographer in Prague, produced a Palace Interior with Colonnade (now Texas, San Antonio, Koogler McNay Museum).

Gardner Annunciation, Master of the (fl.c.1470)

(Maestro dell'Annunziazione Gardner)

Paolucci (1966) mentioned the Master of the Gardner Annunciation's Annunciation (Boston, Isabella Stewart Gardner Museum) and ascribed to him the Life of Saint Bernardine (Perugia, 1473) also attributed to Fiorenzo di Lorenzo.

Garofalo, Benvenuto (1481-1559)

(Tisi da Garofalo, Benvenuto)

Benvenuto Garofalo, a practitioner of perspective who Vasari (III,307) praised for his use of light and shade, and painted an illusionistic ceiling (Ferrara,Seminario, 1590), was mentioned by Kellermann (1924). To Garofalo was attributed also the quadratura of another illusionistic ceiling (Ferrara, Palazzo Costabili or Calcagini, c.1505-1525) by Knall-Brskovsky (1984, 30), although this ceiling was also attributed to Ercole Grandi.

Gaspari, Giovan Paolo (1714-1775)

Giovan Paolo Gaspari, scenographer to the court of Bavaria (1749-1775), painted a Prison (Carcere, now Munich, Theatermuseum) based on Act II, scene 1 of the opera Talestri, Queen of the Amazons (Talestri, Regina delle Amazoni), mentioned by Mancini et al. (1975, 106).

Gatta, Don Bartolommeo della (1448-1502/1503) (1408-1481)

(Dei, Piero d'Antonio)

Paolucci (1966) cited della Gatta's Saint Roch (San Rocco, Arezzo, Pinacoteca) and his Stigmata of Saint Francis (Stimmate di San Francesco, Castiglion Fiorentino, Pinacoteca Civica).

Gaulli, Giovanni Battista (1630-1709)

(Baciccia; Gauli, G.B.)

Giovanni Battista Gaulli, who painted illusionistic ceilings and quadratura (Rome, Chiesa del Gesu, Adoration of the Name of Jesus, 1672-1685), was mentioned by Battersby (1974, 69).

Gauriento di Arpo di Padova (fl. 1350-1375)

(Arpo, Gauriento di; Di Arpo, Gauriento; Guariero)

Gauriento, who worked with Giacomo Filippo on the Life of Saint Augustine (Padua, Eremitani), was linked with Altichiero, Avanzo and Ottaviano da Brescia.

Geertgen Tot Sint Jans (1460-c.1495)

(Sint Jans, Geertgen Tot; Tot Sint Jans, Geertgen)

Geertgen Tot Sint Jans was a practitioner of perspective in the Low Countries. Castelnuovo (1966) mentioned his Allegory on the Sacrifice of Christ (Amsterdam, Rijksmuseum) and his Nativity (London, National Gallery).

Geffelin

Geffelin was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,428) linked with Olivier Chiffelin and Hans Leonard Schäufelein.

Genga, Bartolommeo (1518-1558)

Bartolommeo, the son of Girolamo Genga, according to Vasari (III,266-268), was taught perspective by his father, studied with Giorgio Vasari and Bartolommeo Ammannati, then spent four years measuring ancient and modern buidings before returning as engineer to the Duke of Urbino for whom he made a triumphal arch and was "an ingenious deviser of masques and excellent in the apparatus for comedies and scenes".

Genga, Girolamo (1476-1551)

According to Vasari (III,261ff.), Girolamo Genga studied with Luca Signorelli of Cortona, then studied perspective with Perugino and subsequently worked for Duke Guidobaldo of Urbino for whom he made "apparatus and scenery for comedies, in which he succeeded admirably, owing to his knowledge of perspective and the principles of architecture". His scenography for Calandria (Urbino, 1513) was mentioned by Zorzi, 1977, 92, 192-193). In Rome he measured the antiquities and wrote on this topic. He had a son Bartolommeo Genga, a son in law, Giovambattista Bellucci of San Marino and a pupil, Baldassare Lanci. He was cited by Serlio (1587,18v). His illusionistic paintings (Pesaro, Villa Imperiale, Sala del Giuramento, c. 1530 or later) were mentioned by Kellermann (1924), Sjöström (1978, pl.6) and Knall-Brskovsky (1984,31).

Gerini, Niccolo di Pietro (fl. 1368-1415)

(Di Pietro Gerini, Niccolo)

Niccolo di Pietro Gerini was a practitioner of proto-perspective who worked in Florence (Santa Croce, Cappella Castellana); painted a Life of Saint Francis (Pisa, San Francesco, 1392) and a Life of Saint Matthew (Prato, San Francesco, c.1395).

Gerolamo Da Vicenza (fl.1488)

(Hieronimus Vicentinus; Vicenza, Gerolamo Da; Vincenza, Gerolamo da)

Gerolamo da Vicenza, possibly identifiable with Gerolamo di Stefano d'Alemania, was a practitioner of perspective best known for his Death and Assumption of the Virgin (London, National Gallery, 1488), which was discussed by Sandström (1963,pl.31).

Gerolamo Di Giovanni da Camerino (fl.1450-c.1473)

(Camerino, Gerolamo di Giovanni da; Giovanni da Camerino, Gerolamo di)

Paolucci (1966) cited Gerolamo di Giovanni's Madonna with Child, Donors and Saints (Madonna col Bambino, Santi e Donatori, Camerino, Pinacoteca Civica, 1449) and his Annunciation (Annunziazione e Pieta, Camerino, Pinacoteca Civica, 1486).

Gherardi, Antonio (1664-1702)

Antonio Gherardi, who integrated architecture and illusionistic ceiling painting (Rome, San Carlo ai Catenari, Cappella di Santa Cecilia, 1685), was mentioned by Kellermann (1924, 185).

Gherardi, Cristofano (1508-1556)

(Doceno da Borgo San Sepolcro)

Vasari (III,221,228) mentioned his perspectival practice.

Gherardi, Filippo (1643-1704)

Filippo Gherardi and Giovanni Coli, painters of illusionistic ceilings, walls and trompe l'oeil provided the contents for quadratura by Johann Paul Schor (Rome, Palazzo Colonna, 1665-1668) as was mentioned by Kellermann (1924, 155-156).

Gheringh, Anton Günther (1608-1668)

(Ghering, Anton)

Ghering was a painter of architectural views. Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Ghezzi, Pier Leone (1674-1755)

Pier Leone Ghezzi, a painter of illusionistic wall paintings and trompe l'oeil (Frascati, Villa Falconieri, Stanza delle Conversazioni, 1727), was mentioned by Milman (1986,86).

Ghirlandaio, Domenico Bigordi detto il (c.1448/1449-1494)

(Bigordi, Domenico; Grillandaio)

Domenico Ghirlandaio was an important practitioner of perspective who painted a Life of Saint Francis (Florence, Santa Trinita, Cappella Sassetti, 1480) and a Life of the Virgin (Florence, Santa Maria Novella, Cappella Tornabuoni, 1486).

He was mentioned by Pacioli (1494,2r), discussed by Vasari (II,70-75), studied in the twentieth century by Francastel (1951) and Rosenhauer (1969, 1972) and referred to by White (1957, 133, n.43). Domenico Ghirlandaio and Giuliano da Sangallo were suggested by Fabbri, Zorzi and Tofani (1975,779) as painters of the Urbino Panel of an idealized city also associated with Lauranna, Piero della Francesca and Francesco di Giorgio Martini.

Ghirlandaio, Philipino ()

(Grillandaio, Philyppino)

Philipino Ghirlandaio was mentioned by Pacioli (1494,2r) and referred to by Uzielli (1894,403-404).

Ghirlandaio, Ridolfo (1483-1561)

Ridolfo Ghirlandaio was described by Vasari (I,264) as having "a scene...in which, besides the Christ delivering the man possessed, there are some very fine buildings so drawn in perspective that the interior and exterior are represented at the same time", which White (1957, 136) associated with the Christ and the Apostles in the Temple (Philadelphia, Johnson Collection) attributed to Andrea di Giusto. Parronchi (1962) attributed to him the famous Berlin Panel of an ideal city which he claimed was intended as a model for the play Pisana by Lorenzo Strozzi.

Giordano, Luca (1632-1705)

(Fa Presto)

Luca Giordano, a student of Jusepe de Ribera, painted illusionistic ceilings (Florence, Palazzo Riccardi, 1682; Naples, Santa Birgitta, 1678; Naples, San Filippo Neri; Escorial, 1692-1702), was mentioned by Kellermann (1924, 124-127).

Giotto (1266-1337)

Giotto, was one of the seminal figures in proto-perspectival practice. Active in Assisi (San Francesco), Padua (Cappella degli Scrovegni) and Florence (Santa, Croce, Cappella Bardi and Cappella Peruzzi), he was discussed by Vasari (I,77,205). According to White (1957, 103), Giotto's three closest followers were the Master of the Early Life of Christ, along with the Master of the Magdalen Chapel and Taddeo Gaddi who, working in the Lower Church (Assisi, San Francesco), were all practitioners of proto-perspective.

Giovanni da Milano (fl.1346-1369)

(Milano, Giovanni da)

Giovanni da Milano was a practitioner of proto-perspective who painted a Life of Saint Anthony (Williamstown, c.1360) and worked with the Master of the Rinuccini Chapel on a Life of the Virgin and Life of Saint Mary Magdalene (Florence, Santa Croce, Sacristy, Rinuccini Chapel, c.1365). White (1957,112,n.11) mentioned him.

Giovanni da Udine (1494-1564) (1487-1564)

(De'Nani, Giovanni; De'Ricamatori, Giovanni)

Giovanni da Udine, active as a painter of illusionistic ceilings (Udine, Palazzo Arcivescovile) and as teacher of Perino del Vaga in Raphael's workshop, worked with him (Vatican, Loggie, Sala Di Papa) and later alone in Venice (Palazzo Grimani, 1539-1540). He was mentioned by Vasari (IV,12) for his foreshortening and discussed by Kellermann (1924, 61-63).

Giovanni da Verona, Fra (1457/1458-1525)

Fra Giovanni da Verona, a master of marquetry, most famous for his inlaid panels (Verona, Santa Maria in Organo, 1499; Monte Olivetto Maggiore, 1503), and editor of the first Venetian edition of Vitruvius (1497?, 1511), was discussed by Vasari (II,230; III,41-42) and mentioned by Zorzi (1977, 309).

Giovanni di Paolo di Grazia detto dal Poggio o Boccanera (1400-1482)

(Boccanera, Giovanni dal; Di Paolo, Giovanni; Paolo, Giovanni Di; Poggio, Giovanni dal)

Giovanni di Paolo was a practitioner of proto-perspective who painted a Saint Catherine of Siena (Siena, San Domenico, c.1420) and a Saint Bernardine (Siena, San Francesco, 1447). Pope-Hennessey (1937,85) and White (1957,111,n.3) discussed his Saint John the Baptist Entering the Wilderness (Chicago, Art Institute).

Girolamo Da Carpi (1501-1556)

(Da Carpi, Girolamo)

Girolamo Da Carpi, a scenographer who designed the scenes for the Orbecche (Ferrara, 1541) and Egle (Ferrara, 1545) by Giraldi Cinthio, was discussed by Zorzi (177, 57) who suggested that a member of his circle was responsible for a Scenographic Drawing with the Piazza of Ferrara (Disegno scenografico con la piazza di Ferrara, Ferrara, Biblioteca Communale Ariostea, H.5.I.60). Others have attributed this drawing to Pellegrino da San Daniele or to Raphael.

Giuntalodi, Domenico di Giovanni (1505-1560)

(Giuntalocchi, Domenicho)

According to Vasari (III,160), Giuntalodi was a pupil of Niccolo Soggi who taught him perspective.

Giusto (fl. 1462)

Vasari (I,328) reported that Giusto and Minore were masters of marquetry (Florence, Sant'Annunziata) who worked with Giuliano da Maiano (1432-1490).

Giusti, Tomaso (1664-1729)

Tomaso Giusti produced a scene painting for Giulio Cesare Trionfante by D. Freschi (Teatro di Sant'Angelo, 1682 with engraving now in the Museo Correr, Venice), which was cited by Mancini et al. (1975,64).

Giusto Manini Da Firenze, Andrea di (15th c.)

(Andrea di Giusto)

Andrea di Giusto was cited by White (1957, 141) as a possible painter of Christ and the Apostles in the Temple (Philadelphia, Johnson Collection) which is in two point perspective.

Goes, Hugo Van Der (c.1440/1445-1482)

(Van der Goes, Hugo)

Hugo van der Goes was an early practitioner of proto-perspective in the Low Countries.

He was mentioned by Harnest (1971,34). Collier (1975) in a significant dissertation on Petrus Christus and Dirk Bouts analysed his Monforte Altar (Berlin, Dahlem) and his Adoration of the Shepherds in the Portinari Altarpiece (Florence , Uffizi).

Goes, Hugo Van Der, Follower (c.1470?-1490?)

(Goes, Hugo Van Der, Nachfolge)

A Follower of Hugo van der Goes painted a Death of the Virgin (Tod Mariae, Berlin, Gemäldegalerie, Kat. Nr. 538B) using proto-perspective which bears comparison to the work of the Master of the Marienleben.

Gogh, Vincent Van (1853-1890)

(Van Gogh, Vincent)

Vincent Van Gogh explored variations of traditional perspectival rules.

Rewald (1942) confronted his paintings with photographs of places depicted in order to illustrate his approach. Schapiro (1950) argued that he used perspective for expressive purposes. Novotny (1953) sought the roots of his methods in seventeenth century Dutch art. Wylie (1970) explored his debt to Cassagne's Drawing for everyone (Le dessin pour tous. Méthode Cassagne, 1862-1863). Heelan (1972, 1983) argued that Van Gogh was using a non-Euclidean methods involving constant curvature hyperbolic geometry. Murray (1980) offered a simpler explanation.

Gondi Chapel, Master of the ()

Gonzaga, Pietro (1751-1831)

Pietro Gonzaga, who studied with Carlo Bibiena, with the Galliari, became an important scenographer and later taught Paolo Landriani, was studied by Muraro (1967).

Goslarer Sibyllen, Master of the (fl.1505)

(Meister der Goslarer Sibyllen)

The Master of the Goslarer Sibyllen was an early practitioner of proto-perspective. Harnest (1971,42) considered his Mass of Saint Gregory (Gregormesse, Braunschweig, 1506).

Gossaert, Jan (1470/1472-1533)

(Mabuse, Jan De; John de Mabuse)

Gossaert was mentioned by Vasari (IV,253) as "almost the first to take to Flanders from Italy the true method of making scenes full of nude figures and poetical fancies".

Goujon, Jean (c.1510-c.1569)

Goujon important as an architect and designer of triumphal entries was studied by Berkenhagen (1971).

Gourmont, Jean De (c.1483-after 1551)

Jean de Gourmont painted an Adoration of the Shepherds (Paris, Louvre, c.1525), the ruins in the background of which were linked with those of Androuet Du Cerceau.

Gozzoli di Lese, Benozzo (1420-1498) (1422-1497)

(Benozzo Gozzoli; Di Lese, Benozzo Gozzoli; Lese, Benozzo Gozzoli di)

Benozzo Gozzoli was a student of Fra Angelico (1447), particularly known for his cycles of saints including the Life of Saint Francis (Montefalco, San Francesco, 1452), the Life of Saint Augustine (San Gimignano, Sant'Agostino, 1465), and Stories from the Old Testament (Pisa, Campo Santo, 1468-1484).

Vasari (II,23-25) discussed Gozzoli's perspectival practice and White (1957,111,n.5) mentioned it. Ragghianti (1977,371) mentioned a drawing of a street attributed to Gozzoli (Uffizi A13, Florence).

Grandi, Domenico (fl. 1470)

Grandi was mentioned as a practitioner of marquetry by Benedetto Dei (c. 1470,90r) and cited by Uzielli (1894,207).

Grandi, Ercole di Giulio (1465-1535)

(Ercole of Ferrara)

Ercole di Giulio Grandi, who studied with Cossa and was attributed to have painted the illusionistic ceiling or quadratura in Ferrara (Palazzo Costabili, c.1505-1525, probably c. 1516-1517) was mentioned by Kellermann (1924), discussed by Sandström (1963) and Knall-Brskovsky (1984, 30). This ceiling was also attributed to Benvenuto Garofalo.

Grimaldi, Giovanni Francesco (1608-1680)

Giovanni Francesco Grimaldi, a painter of illusionistic wall decorations (Hall of Spring, Villa Falconieri, Frascati, 1672) was mentioned by Milman (1986, 82).

Grimmer, Abel (1575-d.1619)

(Grimer, Abel)

Abel Grimmer was a painter of landscapes, architectural scenes and interiors.

Schneede (1965) examined his work in relation to Vredeman de Vries.

Griselda, Master of the Story of (fl. c.1500)

(Master of the Story of Griselda)

The Master of the Story of Griselda is known for his perspectival scenes from the Life of Griselda (London, National Gallery).

Grossi, Bartolino de' (fl. 1425-1464)

(Dei' Grossi, Bartolino)

Bartolino de'Grossi, an early practitioner of perspective, worked with Jacopo Loschi (Prato, San Francesco) and painted an Annunciation (Parma, Duomo).

Grünewald, Matthias (c.1455-1528)

(Gothart, Matthias; Nithart, Mathias)

Grünewald's perspectival practice was discussed by Schmid (1911). Harnest (1971, pl.39-61) analysed his Isenheim Altar (Cobourg, c. 1513-1518) and his Miracle of the Snow (Der Schneewunder, Freiburg im Breisgau, 1517-1519); his Carrying of the Cross (Kreuztragung, Taubersbischofsheimer Altar, 1528) and a Lamentation of the Magdalen (Magdalenenklage, Donaueschingen, 1648 copy).

Guardi, Francesco (1712-1793)

Francesco Guardi was a practitioner of perspectival town views or vedute of Venice (e.g. Der Luftballonaufstieg, Berlin, Gemäldegalerie, Kat. Nr. 501F, 1784).

Guercino (1591-1666)

(Barbieri, Francesco)

Guercino, active as a painter of illusionistic ceilings, who worked with Agostino Tassi (Rome, Casino Ludovisi, 1621-1623) and painted a cupola (Piacenza, Cathedral, 1526-1527) was mentioned by Kellermann (1924,99-101).

Guicciardini, Manno di Geri de' ()

(Manno di Geri)

Guidi, Paolo Antonio (1675-1704)

Paolo Antonio Guidi, an assistant of Antonio Roli, who continued his work when he died, working as a painter of quadratura (Bologna, San Paolo), was mentioned by Kellermann (1934, 110).

Guitti, Francesco (fl.1624-d.1644)

Francesco Guitti, an architect and designer of scenography, created the stage designs for L'Andromeda of Michelangelo Rossi (Ferrara, Corte Vecchia, Gran Sala delle Commedie, 1638: 15 engravings now Venice, Fondazione Cini and Rome, Palazzo Venezia), which were cited by Mancini et al. (1975,62).

Gyselaer, Nicolaes de (fl.1616-1654)

(Giselaer, Nicolas)

Giselaer was a painter of architectural interiors and exteriors.

Schneede (1965) examined his work in relation to Vredeman de Vries.

Haffner, Anton Maria (1654-1732)

(Haffner, Antonio)

Antonio and Enrico Haffner were practitioners of vault decorations. Antonio came to Genoa in 1676, worked with his brother on the Palazzo Rosso (1687-), also worked with D.M. Canuti and was discussed by Knall-Brskovsky (1984, pl.18-20).

Haffner, Enrico (1640-1702)

Enrico Haffner, a painter of quadratura, worked with his brother Antonio and with D.M. Canuti on the Glory of Saint Dominic, (Rome, Santi Domenico e Sisto, 1674; , Bologna, San Michele in Bosco, i.e. Istituto Bosco, Library, Sala del Trionfo della Virtu, 1680; Bologna, Palazzo Ranuzzi). These were discussed by Knall-Brskovsky (1984, pl.18-20) and mentioned by Milman (1986,57).

Hausbuch, Master of the (fl.c. 1475-c.1500?)

(Meister des Hausbuches)

The Master of the Hausbuch painted interiors in proto-perspective (e.g. The Apostles washing Christ's Feet, Die Fusswaschung der Apostel, Berlin, Gemäldegalerie, Kat. Nr. 2072, c. 1475-1480).

Hayenneufve, Simon (1450-1546)

(Simon du Mans; Symon du Mans)

Hayenneufve was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,443) discussed.

Heiligenthal, Meister von (fl. 1445)

Master of Heiligenthal; Meister von Heilegenthal)

The Master of Heiligenthal was a practitioner of proto-perspective. Panofsky 1927, n.52,) suggested that he might be Konrad von Vechta and mentioned his Saint Andrew Baptising (Luneburg, Nikolaikirche, c. 1445).

Hesdin, Jacquemart De (fl.c1384-1410/1411)

(De Hesdin, Jacquemart)

Jacquemart De Hesdin was one of the illustrators mentioned in the Berry's inventory of 1402 as having partly illuminated the Très Belles Heures de Jean De France, Duc de Berry (Brussels, Bibliothèque Albert Ier, ms. 11060). Panofsky (1927, Abb. 27) related the workshop of Jacquemart De Hesdin with André Beauneveu's work on this manuscript. Bunim (1940, fig.65) considered a Flight into Egypt from this manuscript (fol.106) and an Annunciation attributed to Jacquemart De Hesdin from the Très Belles Heures de Notre Dame Du Duc De Berry (Paris, Rothschild Collection).

Heyden, Jan van der (1637-1712)

(Van der Heyden, Jan)

Jan van der Heyden was a painter of church exteriors and city views, some of which were cited in the catalogue by Giltaij (1991).

Holbein, Ambrosius (c.1494-1519)

Ambrosius Holbein was an early practitioner of perspective. Harnest (1971, 35-36) analysed his woodcut of a Schoolmaster's Sign (Aushängeschild eines Schulmeisters, 1516) and a related woodcut by Hans Holbein, the Younger.

Holbein, Hans, the Elder, (c.1465-1516)

Hans Holbein the Elder was an early practitioner of proto-perspective in Switzerland.

A dissertation by Werner (1912) examined his perspectival practice. Harnest (1971, 14-15) analysed his Mother of God (Mutter Gottes, Nürnberg, 1499), his drawing of the Adoration of the Kings (Anbetung der Könige, Basel), his Saint Elisabeth (Munich, Sebastiansaltar, 1516) and his Birth of the Virgin (Geburt der Maria) from the Weingartner Marienaltar (Augsburg, Dom, 1493).

Holbein, Hans, the Younger, (c.1497-1543)

Hans Holbein the Younger was an early practitioner of perspective. Harnest (1971, 35-36) analysed his Holy Family (Die Heilige Sippe, Basel, 1517-1519); Christ as Man of Sorrows and Mary (Christus als Schmerzensmann und Maria, Basel, 1521); the Judgment of Solomon (Das Urteil Salomonis), a drawing of King Rehabeam and the Representatives of Israel (König Rehabeam und die Abgesandten Israels, 1530), a woodcut of a Schoolmaster's Sign (Aushängeschild eines Schulmeisters (1516) and a related woodcut by Ambrosius Holbein. His Ambassadors (London, National Gallery, 1533), famous for its anamorphic skull, was studied by Baltrusaitis (1957).

Hoogh, Pieter de (1629-1683?)

(Hooch, Pieter de)

Pieter de Hoogh, an important practitioner mainly of interiors, was mentioned by Harnest (1971,100).

Houckgeest, Gerard (c.1600-1661)

Gerard Houckgeest painted architectural phantasies and church interiors. Wheelock (1975-1976) compared the architectural paintings of Houckgeest and De Witte. Some of his paintings were cited in the catalogue by Giltaij (1991).

Huber, Wolf (c.1485-1553)

Wolf Huber was an early practitioner of perspective in Germany.

Harnest (1971) analysed his scenes from the Life of Christ (Bregenz, Sankt-Annen-Altar, 1515-1521): i.e. Joachim's Offering in the Temple (Joachim Opfer im Tempel), Birth of Christ (Geburt Christi), Adoration of the Shepherds (Anbetung der Könige), Presentation in the Temple (Darstellung im Tempel), and the Circumcision (Beschneidung Christi). A serious study of Huber's work was made in a dissertation by Rose (1973).

Hughes

Hughes was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,437) linked with Hugo van der Goes and Hughes de la Faye.

Iacopo, Maestro (fl. c. 1470)

Maestro Iacopo was mentioned as a practitioner of marquetry by Benedetto Dei (c. 1470,90r) and cited by Uzielli (1894,207).

Iehan Iolis

Iehan Iolis was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,439-440) linked with Jehannet de Milan, Giovanni Bellini and others.

Isaac Master (fl. c.1300)

The Isaac Master was a practitioner of proto-perspective to whom White (1957, 30-33) attributed an Isaac and Jacob; The Brothers Interceding with Joseph; The Pentecost and a Saint Augustine (Assisi, San Francesco) and whose work he connected with the Master of the Saint Francis Legend.

Isabel of Bavaria and Christine de Pisan, Master of (fl. c.1400)

The manuscript of Isabel of Bavaria and Christine de Pisan (London, British Library, Ms. Harley 4431, fol 3, c. 1400) was mentioned by White (1957, pl.54a) and Ragghianti (1976, 469) as an example of Franco-Flemish proto-perspective.

Jacopo dalla Quercia (c.1371-1438)

Vasari (I,212) mentioned the perspectival practice of Jacopo dalla Quercia.

Jaquiero, Giacomo di Giovanni (1350-1394)

(Di Giovanni Jaquiero, Giacomo)

Giacomo Di Giovanni Jaquiero was a practitioner of proto-perspective.

Jeannot Le Flamand (fl.1448)

(Flamand, Jeannot Le)

Jeannot Le Flamand, cited in a letter of René d'Anjou (1448), was suggested by Brion Guerry (1962, 91) as having painted a Raising of Lazarus (Résurrection de Lazare, Paris, Louvre).

Jouvenel des Ursins, Master of ()

(Maitre de Jouvenel des Ursins)

The Master of Jouvenel des Ursins, in the circle of René d'Anjou, was a practitioner of proto-perspective who illustrated Giovanni Colonna's Mer des Histoires (Paris, Bibliothèque Nationale, ms. lat. 4915; the Ordonnances de Charles VII (Paris, ms. lat. 1577) and a Livre de Prières (Poitiers, Bibliothèque, ms 41). Brion-Guerry (1962,92) related this to Les secrets de l'histoire naturelle (Collection Charnacé); the Livre des Frères dit de Marie Stuart (Paris, Bibliothèque Nationale, ms. lat. 1405); Les Petites Heures à l'usage de Rome (Collection Rothschild, 2530) and Les Ordonnances de Charles VII (Paris, Bibliothèque Nationale, ms. lat. 1577). Brion-Guerry further related these to manuscripts of a Flemish artist in the entourage of René: the Grandes Chroniques de France (Chateauroux, Ms. 5) and L'Arbre des Batailles d'Honoré Bonet (Paris, Bibliothèque de l'Arsenal, 2695).

Juvarra, Filippo (1676-1736) (1687-1736)

(Juvara, Filipo)

Filippo Juvarra, principally a scenographer and architect of the theatre, designed the scenes for The Young Theodosius (Teodosio il Giovane) by F. Amadei (Rome, Teatro Ottoboni alla Cancelleria, 1711 with 11 autographed drawings now London, Victoria and Albert Museum and Turin, Biblioteca Nazionale) and illustrated a Room which Leads to the Royal Appartments (Camera che introduce ad appartamenti reali (Turin, Museo Civico), as listed by Mancini et al. (1975, 100). He also coordinated with the Valeriani brothers in quadratura (Stupingi in Piedmont, Hunting Lodge, 1733) as mentioned by Milman (1986, 61).

Krafft, Christoph (fl.1648)

Christoph Krafft was a practitioner who made a copy of Grünewald's Lamentation of the Magdalen (Magdalenenklage, Donaueschingen,1648) which was analysed by Harnest (1971,61).

Krafft, Peter (fl. 1832)

Peter Krafft, commissioned in 1832 to repaint the original ceiling decorations or quadratura by Andrea Pozzo (Vienna, Universitätskirche or Jesuitenkirche), was discussed by Knall-Brskovsky (1984, 124-125, pl.30-31).

Lamberti, Simone (fl.1450)

Lamberti painted a polyptych with the Life of Saint Peter Martyr (Parma, Pinacoteca Nazionale, c.1450) which was the first in a series of four polyptychs dedicated to Dominican saints finished by his students Bartolomeo and Agnolo degl'Erri after 1466.

Lambranzi, Giovan Battista (fl. c.1660-c.1700)

G.B. Lambranzi, who produced the scene paintings for Eteocle e Polinice by G. Legrenzi (Venice, Teatro di San Salvador, 1675 with 10 drawings now Parma, Palatina) and La Divisione del Mondo (Venice, Teatro di San Salvador, 1675 with 10 drawings now Parma, Palatina), was cited by Mancini et al. (1975, 65-66).

Lancastre, Jean de, Rouen Atelier Around (fl. c.1460-1470)

(Rouen Atelier around Jean de Lancastre; Atelier a Rouen autour de Jean de Lancastre)

A Rouen Atelier around Jean de Lancastre was mentioned by Brion Guerry as probably responsible for an important example of spherical perspective: Guillaume de Tyr's Histoire de la Conquete de Jerusalem (Paris, Bibliothèque Nationale, c.1460-1470) particularly the scene of the Marriage of Foulque d'Anjou and Queen Mélisende (fol. 167).

Lanci di Urbino, Baldassare (1510-1571)

(Lancia)

According to Vasari (III,266) Lanci, an engineer and a pupil of Bartolommeo Genga, was active in fortifications before working for Duke Cosimo de Medici. As noted by Fabbri, Zorzi, Tofani (1975,100) he was responsible for carts in the masquerade of the Genealogy of the Gods (Genealogia dei Dei, 1565); designed a scene for the Fabians (I Fabii, 1567) by Lotto del Mazza for which the preparatory drawing is probably that now conserved in Prato (Collezione Loriano Bertini); and a scene for The Widow (La Vedova, 1569) by M. Giovam-Battista Cini, the preparatory drawing for which is now in Florence (Uffizi, n.404 P); and also a scene for The Coronation of Saul (La coronazione di Saul) by G.M. Cecchi (cf. Povoledo, 1959,1194). Lanci also constructed a surveying instrument (1567), now Florence, Museo di storia della scienza, which may be identical with the perspectival instrument described by Barbaro (1568, part 9, cap. IIII), criticized by Danti (1583,61-62) and discussed by Veltman (1986,102-117).

Landi, Neroccio De'Bartolommeo (1447-1500)

(De'Landi, Neroccio; Neroccio De'Landi; Neroccio da Siena)

Neroccio De'Landi was a practitioner of perspective who painted an Annunciation (New Haven, Yale University Museum, c.1475) which Edgerton (1975,55) analysed.

Landini, Taddeo (fl. 1589)

Taddeo Landini, active in scenography, who produced a scene for the festivities in Florence (Canto degli Antellensi, 1589), and for which Orazio Scarabelli did an engraving, was mentioned by Stein (1969, 59-60).

Lanfranco, Giovanni (1580-1647) (1582-1617)

Giovanni Lanfranco from Parma who began in the workshop of Annibale Carracci painted illusionistic ceilings (Rome, Casino Borghese); worked together with A. Tassi on illusionistic wall decorations (Rome, Palazzo del Quirinale, Sala Regia, 1616-1617) as mentioned by Milman (1986,71) and painted others alone (Rome, Sant'Andrea in Valle, Maria in Glory, 1621-1625; Naples, Cathedral, 1631-1641) as mentioned by Kellermann (1924,117).

Lauranna, Luciano da (1420-1480)

(Laurana)

Luciano, brother of Francesco Lauranna, was probably born in Aurana in central Dalmatia, was an architect and painter, contemporary of Francesco di Giorgio Martini and Piero della Francesca, and one of the individuals credited with having painted the famous anonymous Berlin, Baltimore and Urbino Panels, which have been linked by some as stage designs for plays by Strozzi and Macchiavelli (Florence, Palazzo Medici, 1518).

Baldi (1588) attributed to Luciano the Urbino Panel of an idealized city. Von Reber (1890) revived this idea and described Lauranna as the founder of high Renaissance architecture. Budinich (1903) pursued the attribution with new evidence and attributed to him also the Berlin and Baltimore Panels. This was reported by Geymüller (1887-1904), Von Fabriczy (1904) and Gronau (1905) who found archival evidence of a panel by Fra Carnevale. Venturi (1914) studied the work of Luciano and Francesco in the context of the ducal palace at Urbino. Salmi (1943, 1969) reassessed the role of Lauranna in an important monograph on Piero della Francesca which explored the role of marquetry. Petrovich (1947) returned to the work of these two figures and again attributed to Luciano the Urbino Panel. Kimball (1927) and Krautheimer (1948) explored links to theatre. Sanpaolesi (1949) reviewed the evidence arguing that the authorship should be sought in the names Giuliano da Sangallo, Baccio d'Agnolo and Cronaca. Shearman (1975) considered new archival evidence. The literature concerning all three panels was reviewed by Conti (1976) and more recently by Damisch (1987).

Laureti, Tommaso (c.1530-1602)

Tommaso Laureti, a Sicilian painter who came to Bologna in 1560, described by Danti (1583,39) as a most excellent painter and perspectivist in Bologna, taught Danti how to construct a perspectival window for demonstration purposes and painted an early illusionistic ceiling mentioned by Knall-Brskovsky (1984,39).

Lederer, Josef (fl. mid 18th c.)

Josef Lederer, a painter of illusionistic wall paintings and trompe l'oeil (Czechoslovakia, Castle of Cesky-Krumlov, Hall of Masks, 1748), was mentioned by Milman (1986,86).

Lendinara, Cristoforo da (fl. 1449-1491)

Cristoforo, a member of the da Lendinara family, famous for their intarsia work, was mentioned by Paolucci (1966), Mezzetti and Caprara (1972), and studied in an important dissertation by Ciati (1974-1975).

Leyden, Lucas Van (1489-1533)

(Van Leyden, Lucas)

Lucas van Leyden, an early practitioner of perspective in the Low Countries, was mentioned by Harnest (1971,56).

Libri, Francesco dai, il Vecchio (c.1451-1502/1514)

(Dai Libri, Francesco; Francesco Dai Libri)

Francesco Dai Libri was an early practitioner of perspective and the father of Girolamo dai Libri.

Libri, Girolamo dai (1474-1555)

(Dai Libri, Girolamo; Girolamo dai Libri)

Girolamo dai Libri, the son of Francesco dai Libri, il Vecchio, painted a Life of Saint Augustine (Avignon, Musée Campana).

Lieferinxe, Josse (fl. 1493-1505)

(Master of Saint Sebastian; Maestro di San Sebastiano)

Josse Lieferinxe was a practitioner of perspective. Castelnuovo (1966) mentioned his Saint Sebastian destroys the Idols (Philadelphia, Johnson Collection).

Liesborn, Circle of the Master of (fl. 1450-1500)

The Circle of the Master of Liesborn is known for proto-perspective in paintings such as Saints Ambrose, Exuperius and Jerome (London, National Gallery, c.1480).

Liesborn, Master of (fl. 1450-1500)

The Master of Liesborn was a practitioner of proto-perspective known for paintings such as the Annunciation (London, National Gallery, c.1480).

Limbourg, Pol De (fl. c.1400-d.c.1416)

(De Limbourg, Pol; Pol De Limbourg)

Pol and his two brothers Herman and Jean De Limbourg were early practitioners of proto-perspective in France. They were the chief illustrators of the Très riches heures du Duc de Berry (Chantilly, Musée Condé, 1413-1416) which Jean Colombe is said to have finished (c.1485-1489). The miniatures in this manuscript are remarkable because they depict recognizable places such as Mont Saint Michel, the Sainte Chapelle and various palaces of the Duc du Berry including Lusignon, Dourdon, Poitiers, D'Estampes, Saumur and Vincennes. White (1957, 223-224) discussed the contribution of the Limbourg brothers, related it (232,n.14) to Les grandes heures du Duc de Berry (Paris, Bibliothèque Nationale, Ms. Lat. 919) and Les petites heures du Duc de Berry (Paris, Bibliothèque Nationale, Ms. Lat. 18014) as well as to the Masters of the Bedford and Sobieski Hours, and referred to minor members of the Limbourg Atelier (1957,235,n.44) who were responsible for other manuscripts (London, British Library Add. Ms. 35311 and Harley 2987).

Lippi, Filippino (1457-1504)

(Lippi, Filippo; Filippo Lippi)

Filippino Lippi, the son of Fra Filippo Lippi, painted scenes from the Life of Saint Thomas Aquinas, notably the Triumph of Saint Thomas Aquinas (Rome, Santa Maria Sopra Minerva, Cappella Caraffa); from the Life of Saint John the Evangelist notably Drusiana is awakened by John the Evangelist (Florence, Santa Maria Novella, Cappella Strozzi) and from the Life of John the Baptist notably Salome's Dance (Prato, Cathedral) discussed by Sandström (1963, pl.18,20,32).

Lippi, Fra Filippo (c.1406?-1469)

Filippo Lippi worked with Masaccio on the Life of Saint Peter (Florence, Carmine), was a popularizer of Masaccio's methods and painted a Confirmation of the Carmelite Rule (Florence, Carmine, 1432) and a Life of Saint John the Baptist (Prato, Duomo, 1432). White (1957, 170-187) discussed his work at length including two examples of his Virgin and Child with Saints and Angels (Empoli, Sant'Andrea and Paris, Louvre); two versions of a Virgin and Child (Tarquinia and Florence, Pitti); two versions of an Annunciation (Florence, San Lorenzo; Munich, Alte Pinakothek) and a copy possibly by the Master of the Castello Nativity (Florence, Accademia) as well as a Coronation of the Virgin (Florence, Uffizi). The Uffizi Virgin and Child was analysed (in an idealized way) by Degl'Innocenti. Sandström (1963,pl.19) discussed his Presentation in the Temple or Christ brought forth into the Temple (Prato, San Spirito).

Livre d'Heures de Llangatock (formerly), Master of (fl. c. 1415-1420)

(Llangatock Hours)

The anonymous Flemish Master, whose manuscript of the Livre d'Heures de Llangatock (formerly, c. 1415-1420) contained an Annunciation in proto-perspective, was mentioned by Ragghianti (1977, 468).

Lochner, Stephan (c.1404/1415-1451)

Stephan Lochner was an early practitioner of perspective in Germany. Harnest (1971, 11) analysed his Presentation in the Temple (Darbringung im Temple, Darmstadt, 1447).

Lorentino D'Angelo (1430-1506)

(Angelo, Lorentino d'; Arezzo, Lorentino d'; Laurentino d'Andrea; Lorentino d'Andrea; Lorentino d'Arezzo)

Paolucci (1966) discussed Lorentino d'Arezzo's Altar with Madonna Enthroned (Pala con la Madonna in trono tra i Santi Gaudenzio e Columato (Arezzo, Pinacoteca, 1482). He also painted a Life of Anthony of Padua (Arezzo, San Francesco, 1482).

Lorenzetti, Ambrogio (c. 1290?-c.1348)

Ambrogio, brother of Pietro Lorenzetti was a seminal figure in the development of proto-perspectival methods due to his Life of Saint Nicholas (Florence, Uffizi), his Presentation in the Temple (Florence, Uffizi, 1342) and particularly his Annunciation (Siena, Pinacoteca, 1344), attributed to be the first painting in which all the floor tiles converge to a single vanishing point (cf. Panofsky, 1927).

Lorenzetti, Pietro (c.1290-1348)

(De Senis, Petrus Laurati; Laurati, Pietro; Laurentius de Seniis, Petrus)

Pietro Lorenzetti was an important figure in the development of proto-perspective, best known for his Carmine Altarpiece with its Stories of the Carmelite Order (Siena, Pinacoteca, c.1327-1329), Birth of the Virgin (Siena, Opera del Duomo, 1342) and his Life of Christ (Assisi, San Francesco, Chiesa Inferiore) particularly the Washing of Feet and Last Supper. White (1957,99-100) discussed his Birth of the Virgin.

Lorme, Anthony de (c.1600/1610-1673)

(De Lorme, Anthony)

Anthony de Lorme was a painter of church interiors.

Ballegeer (1967) examined his work in relation to Vredeman de Vries. Some of his paintings were cited in the catalogue by Giltaij (1991).

Lotti, Cosimo (b. c.1550?/1600?-1650)

Cosimo Lotti, active in scenography at the court in Spain, who produced scenes for the works of Lope da Vega and Calderon, was mentioned by Povoledo (1975,1597).

Lotto, Lorenzo (1480-1556)

Lotto used perspective both in his paintings and in his marquetry.

His perspectival practice was mentioned by Vasari (III,17). De Vecchi (1978) reconstructed the perspectival lines of the Saint Bartholemew Altar (Pala di San Bartolomeo or Pala Martinengo), as well as those of the Altar of Saint Cristina (Pala di Santa Cristina al Tiverone, Treviso), and the Polyptych of Saint Dominic (Polittico di San Domenico a Recanati).

Louis de Savoie, Master of the Livre d'Heures du Duc (fl. c.1439?-1450)

The Master of the Livre d'Heures du Duc Louis de Savoie produced a number of important examples of proto-perspective (notably folios 17, 44v, 51v, 55, 164, 166v, 167v, 173v, 174v, 175v, 178v, 181v, 186v, 191v, 193, 194v, 196). Gardet (1960) in his edition suggested that the text was begun by c.1420, that the illustrations began after 1439 and involved two artists in the Duke's court, Jean Bapteur and Péronnet Lamy de Saint Claude.

Lucas

Lucas was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,437-438) linked with Lucas van Leyden, Lucas Cranach, Luca Pacioli as well as Luca Signorelli and Luca Fancelli.

Lucchese, Francesco (fl. 1470)

Lucchese was described as a practitioner of marquetry by Benedetto Dei (c.1470,90r) and mentioned by Uzielli (1894,207).

Magatti, Pietro Antonio (1687-1768)

Magatti, active in Milan as a painter of illusionistic ceilings was studied by Bossaglia (1964) in connection with Borroni and Bortoloni.

Magdalen Chapel, Master of the (fl. 1315-1320)

(Master of the Magdalen Chapel)

According to White (1957, 103), the Master of the Magdalen Chapel, along with the Master of the Early Life of Christ and Taddeo Gaddi, was one of the three closest followers of Giotto. Working in the Lower Church (Assisi, San Francesco), he was a practitioner of proto-perspective. Poeschke (1985) referred to this work as school of Giotto. One of the frescoes in this chapel, the Journey to Marseilles, which employed inverted perspective, was a starting point for Wulff's (1907) classic article on inverted perspective.

Maiano, Benedetto da (1442-1497)

(Benedetto da Maiano)

Vasari (II,90) reported that he was the best master of marquetry of his time.

Maiano, Giuliano da (1432-1490)

(Giuliano da Maiano)

Giuliano da Maiano was mentioned by Benedetto Dei (c.1470,90r) as active in marquetry. Vasari (I,329) reported that he began as a carpenter and worked with Giusto and Minore, masters of marquetry.

Macchiavelli Niccolo, (1469-1527)

Niccolo Macchiavelli, author of the Prince, and La Madragola (Florence, Palazzo Medici, 1518) for which the Urbino Panel might possibly have served as a stage design, was mentioned by Zorzi (1977, 307-308). Cf. Lorenzo Strozzi.

Maino, Giovanni Angelo Del (fl.1496-1536)

Maino was a practitioner of perspective in the circle of Zenale. In a major catalogue on Zenale, Dalai Emiliani in collaboration with Fronza (1982) reconstructed the perspectival lines of his Drawing for a wooden ancon (Disegno per un'ancona lignea).

Malosso Trotti, Giovanni Battista (1555-1619)

Malosso carried out designs of the Campi brothers for an illusionistic ceiling (Cremona, Sant'Abbondio) as was mentioned by Knall-Brskovsky (1984,35).

Mansard, Jules Hardouin (1646-1708)

J.H. Mansard, who combined aspects of illusionistic painting and architecture (Paris, Les Invalides, 1680), was mentioned by Kellermann (1924,187).

Marchi, Giuseppe (fl.1701-1702)

Giuseppe Marchi, a painter of quadratura who worked with A. Pozzo, was the teacher of Alberto Carlieri.

Marchini, Giovanni Francesco (fl. 1702-1736)

G.F. Marchini, a painter of quadratura (Wiesentheid in Franconia, Sankt Jakob, 1730) was mentioned by Milman (1986, 53).

Marcilla, Guglielmo da (1467-1537)

(Guglielmo da Marcilla)

G. da Marcilla (from Marseilles?) was praised by Vasari (II,251) for his colour perspective.

Marie de Bourgogne, Master of (fl.1469?-d.1519)

(Bening, Alexander; Bourgogne, Master of Marie de; De Bourgogne, Maitre de Marie; Maestro di Maria di Borgogna; Maitre de Marie de Bourgogne; Master of Mary of Burgundy; Master of Werden, Master of Verden)

The Master of Marie de Bourgogne illustrated the Prayer book of Mary of Burgundy (before 1477); the Book of Hours of Charles the Bold (Livre d'Heures de Charles Le Témeraire, Vienna, Osterreichische Nationalbibliothek, Hs. 1857) which contains a striking church interior based on Van Eyck (fol.14r) mentioned by Castelnuovo (1966). He also used trompe l'oeil effects with flowers and insects in the Prayer Book of Engelbrecht of Nassau (Oxford, Bodleian Library, 1477-1482).

Marienleben, Master of the (fl. 1463-1480)

(Master of the Life of Mary, Meister des Marienlebens)

The Master of the Marienleben was an early practitioner of proto-perspective in Germany. Harnest (1971,12) analysed his Birth of the Virgin (Geburt Mariens, Munich, Alte Pinakothek).

Marienleben, Master of the, Workshop of (fl. c. 1480?- c. 1490?)

(Workshp of Master of the Life of Mary, Werkstatt des Meister des Marienlebens)

The workshop of The Master of the Marienleben produced a Presentation of the Virgin (Tempelgang Mariens, Nürnberg, Germanisches National Museum) which was an important example of proto-perspective, cited in Stange (1952, V, 77).

Marmion, Simon De (1435?-d.1489)

(De Marmion, Simon)

Simon de Marmion, an early practitioner of proto-perspective in the North, used doors which functioned in the manner of perspectival windows in his Saint Omer Altar (Berlin, Gemäldegalerie, Kat. Nr. 1645-1645A) mentioned by Castelnuovo (1966).

Martin De Pavye

Martin De Pavye was cited as a practitioner by Pélerin (1521,1r) whom Brion Guerry (1962,429-431) linked with Pietro Martino da Milano, Martino Fugazza or Francesco di Giorgio Martini.

Martini, Simone (c.1284-1344)

(Memmi, Simone; Memmio,Simone; Simon of Siena)

Simone Martini, an important practitioner of proto-perspectival painting, was paid (1331) to make drawings of castles in the area of Arcidosso, Castel del Piano and Scansano; which notwithstanding controversies were linked with his Guidoriccio da Fogliano (Siena, Palazzo Pubblico, c.1428). He was thus one of the first documented as making pictures of actual places. Aside from his stay at the court of Avignon (1340-1344), Martini was notable for French connections in his work: e.g. his panels with the Life of Saint Louis of Toulouse on an altar showing Saint Louis of Toulouse Crowning Robert d'Anjou (San Ludovico da Tolosa e storie, Naples, Museo di Capodimonte, 1317); two Standards for Charles, the son of Robert d'Anjou (1327); his Life of Saint Martin (Assisi, Cappella di San Martino, c.1324-1326) which not only involved a French saint from Amiens but was also commissioned at the behest of the Franciscan Gentile Patino da Montefiore, who as cardinal Bonifacio San Martino ai Monti represented Charles Robert D'Anjou in Hungary and had connections with Avignon where Martini later worked. It is striking that these works of French saints contain Martini's most impressive spatial experiments, although his Blessed Agostino Novello (Siena, Chiesa di Sant'Agostino, 1328) is also worth noting in this context.

Masaccio di San Giovanni (1401-1428) (1401-1427/1429)

(Guidi, Tommaso; Tommaso Guidi; Tommaso Casai)

Masaccio's Trinity (Florence, Santa Maria del Fiore, c. 1425-1427) is generally accepted to be the first (fresco) painting and his work in the Brancacci Chapel (Florence, Santa Maria del Carmine) was the first pictorial cycle to use the technical rules of perspective. He has thus become one of the symbols of Renaissance perspective. Vasari (I, 268) reported that he used a mirror to paint a self portrait in the fresco of the Tribute Money in the Brancacci chapel.

Masaccio's perspectival practice was discussed by Vasari (I,265-265,269,209,263,267) and Baldinucci (1681,21). Serious study began with articles by Thausing (1876), Woermann (1880), who examined the interplay between Masaccio and Masolino, Schmarsow (1896) and Reymond (1905) who focussed attention on problems of perspective in the Trinity questioning whether it was by Masaccio. In an important article Kern (1913) replied to his arguments with a first serious attempt to reconstruct the space of the painting, noting differences between the perfection of the architecture, which he concluded must have been done by Brunelleschi, and the less accomplished rendering of the figures, which he attributed to Masaccio. Mesnil (1913) challenged this and pursued his own interpretation in an article (1914) and then in his significant monograph (1927). Subsequent reconstructions of the space in the Trinity have been made by Janson (1967), Polzer (1971), and Field (199). Wakayama (1971) analysed the perspectival space of Masaccio's cycle at Castiglion d'Olona. Arasse (1980) reflected on the relationship between pictorial space and religious image in his work. Myers (1978) in a dissertaion explored the space of Masaccio and Petrus Christus. Kemp (1986) examined the context of the Trinity while Perrig (1986) reconsidered the same painting in terms of the meaning of central perspective. Jacobsen (1986) analysed the use of perspective in the Brancacci chapel. While numerous other authors have mentioned Masaccio's perspective it is striking that a technical analysis of the space in his cycle in Rome has yet to be made.

Mascagni, Fra Arsenio (1579-1636)

(Mascagni, Donato; Masgatti, Don Arsenio)

Fra Arsenio Mascagni, a painter of wall and ceiling decorations, or quadratura (e.g. Schloss Hellbrunn, Festsaal and Oktogon, 1616-c.1619), was discussed by Knall-Brskovsky (1984,113-118).

Mascherini, Ottavio (1530-1610)

Ottavio Mascherino, a Bolognese architect, painted a vault decoration (Rome, Vatican, Sala Bologna, 1575) mentioned by Sjöström (1978,pl.9) and drew a design for quadratura (Vienna, Albertina) discussed by Knall-Brskovsky (1984,40, pl.7).

Maso di Banco (fl.1325-1350)

(Banco, Maso di; Di Banco, Maso)

Maso di Banco was a practitioner of proto-perspective who painted a Life of Saint Sylvester (Florence, Santa Croce, Cappella Bardi di Vernio); a Life of Saint Francis (Pistoia) and worked at Assisi (Basilica Inferiore). His paintings have been discussed by White (1957,87-92).

Masolino da Panicale (1383-1447) (c.1383-c.1440)

(Tommaso di Cristoforo Fini)

Masolino is said to have collaborated with Masaccio in the Life of Saint Peter (Florence, Brancacci Chapel, c.1425-1427) and in the Life of Saint Catherine of Alexandria (Rome, San Clemente, c.1427). Masolino painted a Life of Saint John the Baptist and a Life of Saint Lawrence in Castiglion D'Olona, 1435) which were finished by Paolo Schiavo and Vecchietta. Masolino also painted clouds and angels for stage scenery in Santa Maria del Carmine (1425) as recorded by Fabbri, Zorzi, Tofani (1975,60).

Masolino's perspectival practice was discussed by Vasari (I,256) and began to be studied in the twentieth century by Toesca (1908), Gnoli (1914), Lindberg (1931), Longhi (1940), White (1957, 135-140), Vayer (1962,1962,1965), Salmi (1963), Genthon (1965) and Wakayama (1971).

Masson, André (1896-)

Masson, a surrealist painter who explored space and time was studied by Rahn (1978) in a dissertation.

Massys, Quentin (1465/1466-1530)

Quentin Massys was an early practitioner of perspective known for paintings such as the Virgin and Child Enthroned (London, National Gallery).

Master of 1473 (fl. 1473)

(Meister von 1473)

The Master of 1473, was a practitioner of proto-perspective whose Life of Mary (Leben Mariens, Soest, Maria zur Wiese) was mentioned by Stange (1954, VI, 33).

Mauro, Domenico (fl.1669-1707)

Domenico Mauro, produced scene paintings for Sigismondo I al Diadema by P. R. Pignatta (Venice, Teatro di Santi Giovanni e Paolo, 1696, with 2 engravings now in Venice, Museo Correr), and worked together with Ferdinado Galli Bibiena on Il Favore degli Dei by B. Sabadini (Parma, Teatro Farnese, 1690 with 12 engravings by A. Lorenzini, D. Bonavera, L. Mattioli, F.M. Francia now Venice, Fondazione Cini) was listed by Mancini et al. (1975,65, 76-77).

Mauro, Gaspare (fl. 1662-1686)

Gaspare and Pietro Mauro, active in scenography, worked with Ferdinando and Francesco Bibiena in the Farnese spectacles at Parma in 1690 as mentioned by Rava (1966).

Mauro, Pietro (fl.c.1662-1690)

Piero and Gaspare Mauro, active in scenography, worked with Ferdinando and Francesco Bibiena in the Farnese spectacles at Parma in 1690 as mentioned by Rava (1966).

Mauro, Romualda (fl. 1699-1756)

Romualda Mauro, active in scenography, worked with Antonio Codognato on Rosmira fedele by G. Cocchi (Venice, Teatro di San Samuele, 1753, with an engraving by G. Filosi, now Venice, Museo Correr), listed by Mancini et al. (1975, 116-117).

Mazza, Lotto del (fl. c.1550?-c.1568?)

(Mazzo, Lorenzo del)

Lotto del Mazza, a playwright who wrote the Fabians (I Fabii, Florence, 1568), for which Baldassare Lanci produced a perspectival scene of Florence, was mentioned by Stein (9169, 48) and Zorzi (1977,104).

Mazzola Bedoli, Girolamo (c.1500-1569

(Bedoli, Gerolamo)

Bedoli's perspectival practice was discussed by Quintavalle (1968).

Meckenem, Israhel Van (c.1445-1500)

Israhel van Meckenem was an early practitioner of perspective. Harnest (1971,40) noted that his engraving of an Organplayer and his Wife (1485) was the basis for Holbein the Elder's Birth of the Virgin (Geburt der Maria, Augsburg, Dom, 1493).

Medrano, Giovan Antonio (fl. 1719-1759)

G.A. Medrano, active in scenography, produced a Pianta del Vecchio Teatro di Napoli (1782, reproduced in P. Landriani and G. Ferrario, Storia e descrizione de principali teatri...Milan, 1830), and listed in Mancini et al. (1975,115).

Melani, Francesco (1675-1742)

Francesco and his brother Giuseppe Melani, from Pisa, a student of Ciro Ferri, began as a painter of illusionistic ceilings under the influence of the Carracci, (Rome, Palazzo Doria, Galleria degli Specchi) and became influenced by Pozzo (Pisa, San Matteo, c.1720) as mentioned by Kellermann (1924, 147-148).

Melani, Giuseppe (1673-1747)

Giuseppe and his brother Francesco Melani, from Pisa, a student of Ciro Ferri, began as a painter of illusionistic ceilings under the influence of the Carracci, (Rome, Palazzo Doria, Galleria degli Specchi), became influenced by Pozzo (Pisa, San Matteo, c.1720) as mentioned by Kellermann (1924, 147-148).

Melozzo Da Forli, Marco di Giuliano degli Ambrogi detto (1438-1494)

(Ambrogi, Marco di Giuliano degli; Degli Ambrogi, Marco di Giuliano; Furli; Marco di Giuliano degli Ambrogi; Mirozzo)

Melozzo is best known for his Sixtus IV with the Librarian Platina and his Nephews at the Inauguration of the Vatican Library (Rome, Vatican Gallery), his fresco with the Entry into Jerusalem and his Vault (Loreto, Sacrestia di San Marco).

Melozzo's perspectival practice was cited by Giovanni Santi (cf. Nielsen,1896,62), Pacioli (1494,2r; 1509,18r), Serlio (1583, cf. Nielsen, 1937); discussed by Vasari (II,25; IV,302) and was studied by Lanzi (1838), Schmarsow (1886), who later examined his links with Joos van Ghent (1912); Okknonen (1910), Venturi (1918), was the subject of a conference at the fifth centenary of his birth (1938), further studied by Buscaroli (1938, 1955), Gnudi and Becherutti (1938-1939), Sandström (1963) and more recently by Shearman (1980) and Knall-Brskovsky (1984,25).

Memling, Hans (1433-1494)

(Memlinc, Hans)

Hans Memling was a practitioner of proto-perspective.

Harnest (1971,31,69,106) mentioned his work. Collier (1975) in a significant dissertation on Petrus Christus and Dirk Bouts analysed some of his paintings.

Menabuoi, Giusto De' (1320/1330-.c.1397) (fl.1363/1364-d.1387/1381)

(De' Menabuoi, Giusto; Giusto De'Menabuoi)

Giusto De'Menabuoi was a practitioner of proto-perspective in Padua (cf. Eremitani, c.1370) where he painted a Wedding at Cana (Padua, Battisterio); a Martyrdom of Saint James and a Saint Philip Exorcizing a Devil (Padua, Sant'Antonio, Cappella Belludi, c.1383) discussed by White (1957, 109-110).

Mengs, Anton Raphael (1728-1779)

Anton Raphael Mengs, a German contemporary in illusionistic ceiling paintings (Rome, Villa Albani, Sala di Parnasso, 1751; Rome, Sant Eusebio, 1757), was mentioned by Kellermann (1924, 168).

Mengozzi-Colonna, Gerolamo (1688-c.1772)

(Colonna, Gerolamo Megozzi-)

Gerolamo Megozzi-Colonna and Giambattista Tiepolo, whose collaboration on ceiling and wall decorations (Venice, Palazzo Labia, Gran Salone, 1745-1750) was discussed by Sjöström (1978,pl.62-63), was mentioned by Milman (1986, 70).

Messenta, Francesco (1675-1745)

Francesco Messenta, a painter of quadratura (Stadl Paura, Dreifaltigkeitskirche; Stiftskirche Wilhering; Chor, Spital am Phyrn) was discussed by Knall-Brskovsky (1984, 225-231).

Mezzastris, Pier Antonio (c.1430-1506)

(Antonio da Foligno, Pietro; Da Foligno, Pietro Antonio; Pietro Antonio da Foligno)

Mezzastris was a popularizer who may have worked with Benozzo Gozzoli in Montefalco (c.1452?), whose work in Narni (San Francesco) was copied from Gozzoli and who painted a Life of Saint James and Miracles of Saint Anthony (Assisi, Oratorio dei Pellegrini, 1468) and a Life of Saint Bernardine of Siena (Montefalco, San Francesco, 1503-1506).

Michelangelo (1475-1564)

(Buonaroti; Buonarroti; L'Ange Michel)

Michelangelo's perspectival practice was cited by Pélerin (1521,1r), discussed by Vasari (IV,127,115,130,142-143,186) and Lomazzo (1585,262,272; 1590,52,148-149,16).

Michele da Verona (1470?-1536/1544)

(Michele di Zenone; Verona, Michele da; Zenone, Michele di)

Paolucci (1966) cited Michele da Verona's Crucifixion (Crocifissione, Pinacoteca di Brera, Milan, 1501).

Minore (fl. c. 1450)

Vasari (I,328) reported that Giusto and Minore were masters of marquetry who worked with Giuliano da Maiano (1432-1490).

Minozzi, Flaminio (1735-1817)

Flaminio Minozzi's sketches for quadratura in Colonna's style (Venice, Fondazione Cini, Collezione Certani, end of 18th c.) was discussed by Sjöström (1978, pl.60-61).

Mirandolese delle Prospettive (1673-1741)

(Paltronieri Pietro detto Mirandolese delle Prospettive)

Pietro Paltronieri detto Mirandolese delle Prospettive was a student of M.A. Chiarini.

Mitelli, Agostino (1609-1660)

A. Mitelli, an important painter of quadratura from Bologna, who worked closely with A.M. Colonna for nearly 25 years, (e.g. Rome, Palazzo Spada, 1635; Triumph of Alexander, Florence, Palazzo Pitti, Museo degli Argenti, 1638; Sassuolo, Castello Estense; Parma, Chiesa di Alessandro; Bologna, Santa Maria dello Rosario, 1656; Modena, Palazzo) was discussed by Kellermann (1924, 105-106) and Knall-Brskovsky (1984, 52-53, pl. 15-17). Their many students included Angelo and Enrico Haffner, Giacomo Alboresi, Quaini, the Roli brothers and Domenico Ambrogi, the teacher of Fumiani.

Modena, Tomaso da (c.1325/1326-1379)

(Barisio, Tomaso da; Da Barisio, Tomaso; Da Modena, Tomaso; Da Rabasino, Tomaso; Tomaso da Barisio; Tomaso da Rabasino; Rabasino, Tomaso da; Tomaso da Modena)

Tomaso da Modena was a practitioner of proto-perspective as evidenced by his Life of Saint Ursula for the altar of the Dominicans (Treviso,1352).

Monaco, Lorenzo, Piero di Giovanni detto (c.1370-1425) (fl.1391-1422)

(Don Lorenzo; Giovanni, Piero di; Piero di Giovanni)

Lorenzo Monaco, a practitioner of proto-perspective who painted a Life of Saint James (c.1387-1388), was mentioned by White (1957,104,136,202).

Monciato (fl. 1470)

Monciato was mentioned as a master of marquetry active in Florence at the time by Benedetto Dei (c.1470,fol.90r) and referred to again by Uzielli (1894,207).

Moneglia, Gerolamo ()

Gerolamo Moneglia, made the engravings for Il Trionfo di Augusto in Egitto by an anonymous author (Milan, Teatro Regio, Salone Margherita, 1672 with 8 engravings now Venice, Biblioteca Marciana) and Amor tra l'Armi overo Corbulone in Armenia by an anonymous author (Milan, Teatro Regio, Salone Margherita, 1673 with 8 engravings now Venice, Fondazione Cini), was listed by Mancini et al. (9175, 67-68).

Montagna, Bartolomeo (living 1459-d.1523)

Montagna's perspectival practice was studied by Puppi.

Montorfano, Donato da (fl.c. 1480-1500)

Montorfano, who painted a Life of Saint Anthony Abbot (Milan, San Pietro in Gessate, c.1480) and a Life of Catherine of Siena (Milan, Santa Maria delle Grazie, c.1490-1500), was studied by Reberschak (1960) in terms of perspectival practice.

Morazzone, Il (c.1571-1626)

(Il Morazzone)

Il Morazzone, who worked with Tanzio da Varallo on the Ecce Homo Chapel (Varallo in Piedmont, Chiesa di Sacro Monte, 1609), was mentioned by Milman (1986, 63).

Morone, Francesco (1473-1529)

Morone's perspectival practice was discussed by Vasari (III,40-41). Paolucci (1966) cited his Madonna Enthroned with a Child (Madonna in trono col Bambino tra i Santi Zeno e Nicola da Bari, Milan, Pinacoteca di Brera, 1502).

Moser, Lukas (c.1380-fl.1431)

Lukas Moser was a practitioner of proto-perspective. Harnest (1971,103) mentioned his Magdalen Altar (Tiefbronn).

Multscher, Hans (c. 1400-1467?)

Hans Multscher, a practitioner of proto-perspective who painted the Wurzach Altar (Berlin, Gemäldegalerie, 1437), was cited by Castelnuovo (1966) and mentioned by Harnest (1971,103).

Mura, Francesco De (fl. 1742-1745)

(De Mura, Francesco)

Francesco de Mura, a student of Solimena, continued his tradition of illusionistic ceilings (Naples, Santa Clara, Saint Francis in Glory, 1742-1745) as mentioned by Kellermann (1924, 154).

Namoccio ()

Namoccio, active in scenography, designed the stage scenery for La Caladaria, (Lyons, 1548), at the behest of Catherine De'Medici, which was one of the first examples of Italian principles being used in France according to Povoledo (1975,1597).

Neeffs, Peeter I (active 1605-d.1656-1661)

(Neeffs, Peeter, der Altere)

Peeter Neeffs I was known for his church interiors such as the View of a Chapel at Evening (London, National Gallery). His name is linked with a painting by Van Bassem.

Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Neeffs, Pieter II (1620-1675)

(Neeffs, Peeter, der Jungere)

Pieter II Neeffs followed his father's example in painting church interiors. Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Nelli, Ottaviano di Martino (c.1370-1446)

(Di Martino Nelli, Ottaviano; Ottaviano di Martino Nelli)

Ottaviano di Martino Nelli was a practitioner of proto-perspective who painted a Life of Saint Augustine (Gubbio, Sant'Agostino, c.1424) and a Life of the Virgin (Foligno, c.1424).

Nicholas, Master of Saint (1300-1305)

(Master of Saint Nicholas; Saint Nicholas, Master of

The Master of Saint Nicholas, who painted the Life of Saint Nicholas (Assisi, San Francesco, Lower Church, Chapel of Saint Nicholas), was mentioned by White (1957, 87). Poeschke (1985) referred to the painter simply as School of Giotto.

Nickele, Isaac Van (c.1633?-1703)

(Van Nickele, Isaac)

Isaac van Nickele was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Novelli, Francesco (1776-1836)

Francesco Novelli, who painted illusionistic ceilings (Rome, Casino Ludovisi, Sala di Tiziano), was mentioned by Kellermann (1924, 159).

Nuzio, Alegretto di (c.1320-1373)

(Nuzi, Alegretto)

Alegretto di Nuzio was a practitioner of proto-perspective who painted a Life of the Virgin and Saints (Fabriano, San Domenico, c.1370).

Odazzi,Giovanni (1663-1731)

Giovanni Odazzi, a student of Baciccio, was a painter of illusionistic ceilings (Rome, Chiesa degli Apostoli), was mentioned by Kellermann (1924, 129).

Orlandi, Deodato (fl.1288-1315-d.1331)

(Di Orlando, Deodato; Orlando, Deodato Di)

Deodato di Orlando was a practitioner of proto-perspective who painted a Life of Saint Peter (Pisa, San Pietro in Grado, c.1301).

Orlandi, Stefano (1691-1760)

Stefano Orlandi, a painter of vault decorations who worked with Vittorio Bigari (Faenza, Palazzo del Popolo, Gran Galleria, 1728; Faenza, Palazzo Communale, 1726; Bologna, Palazzo Aldrovandi-Montanari, 1728) was discussed by Sjöström (1978,pl.56) and Knall-Brskovsky (1984,57).

Orley, Bernhard Van (1491/1492-1542)

Bernhard van Orley, a practitioner of perspective, was discussed by Harnest (1971,56,98,100-101).

Osservanza, Master of the (fl. c. 1425?-c.1450?)

(Meister der Osservanza)

The Master of the Osservanza, active in Siena, was a practitioner of proto-perspective who painted a notable church interior (Die Messe des Heiligen Antonius Abbas, Berlin, Gemäldegalerie, Kat. Nr. 63D).

Ouwater, Aelbert Van (c. 1415-1475)

(Van Ouwater, Albert)

Albert Van Ouwater, a practitioner of perspective, painted a Raising of Lazarus (Berlin, Dahlem, Kat. Nr. 532A, c. 1450-1460), mentioned by Castelnuovo (1966).

Pacher, Michel (c.1435-1498)

Influenced by Mantegna, Pacher is best known for his Altar (Sankt Wolfgang am Mondsee, 1472-1481).

His perspectival practice was studied by Allesch (1931), Hempel (1931), Salvini (1935,1939); mentioned by Vagnetti (1979,278) and partly analysed by Harnest (1971, Taf.19-22, cf.45-49,86-88,90,101,105-106).

Palazzi Riva, Francesco (fl. c. 1745-1750)

Francesco Palazzi Riva was a painter of quadratura decoration to whom Sjöström (1978, pl.58) attributed a ceiling (Milan, Palazzo Clerici, Sala Eolo, c.1745).

Palmezzano, Marco (1460-1539)

Palmezzano was a practitioner of perspective who did two versions of a Life of Saint Francis (Matelica, 1501 and Forli, San Francesco Maggiore). Paolucci (1966) mentioned Palmezzano's Annunciation (Annunciazione, Forli, Pinacoteca Comunale).

Panini, Giovanni Paolo (1691/1692-1765)

(Pannini, Giovanni Paolo)

Panini, best known for architectural views such as the Interior of Saint Peters (London, National Gallery) or the view of Saint Peters Square (Die Ausfahrt des Duc de Choiseul auf dem Petersplatz in Rom, Berlin, Gemäldegalerie, Kat. Nr. 2/80) and his capriccios, was discussed by Lanzi (1795-1796).

Paolo del Sacha (1468-1537)

Paolo del Sacha's perspectival practice was studied by Bonetti (1919).

Paoul

Paoul, cited by Pélerin (1521) as a practitioner, was thought by Brion-Guerry (1962,4429) to refer to Paolo Uccello or possibly Pol de Limbourg.

Parabosco, Gerolamo (c.1524-1557)

Gerolamo Parabosco, a playwright who wrote Il Pellegrino (Venice, 1552), which contained perspectival scenes, was mentioned by Stein (1969,48).

Parentino, Bernardino (1437-1531)

(Parenzano, Bernardino)

Parentino was a practitioner who painted a Life of Saint Louis (Rome, Galleria Doria).

Parmigianino (1504-1540)

(Mazzuoli, Francesco; Parmigiano)

Parmigianino painted illusionistic ceilings (Diana and Acteon, Palazzo Fontanellato) and also painted the effect of his reflection in a convex mirror (Vienna, Kunsthistorisches Museum).

He was mentioned by Vasari (III,13) and Kellermann (1924).

Patenir, Joachim (c.1480-1524)

(Patinier, Joachim; Patinir, Joachim)

Joachim Patenir was a practitioner of perspective in the Low Countries mentioned by Harnest (1971,56).

Pellegrino da San Daniello (c.1467-1547)

(Martino da Udine; Udine, Martino da; Pellegrino da Udine)

Pellegrino designed a perspective scene for Cassaria by Ariosto (Ferrara, 1508, original drawing Ferrara, Biblioteca Civica) which, according to Zorzi (1977,92) marked the first time that the term perspective was applied to scenography. Pellegrino's perspectival practice was discussed by Vasari (II,336).

Pencz, Georg (fl. c.1523-1550)

Georg Pencz produced one of the earliest drawings of an illusionistic ceiling, quadratura (London, University College, c.1535-1540?) mentioned by Czymmek (1981, Abb. 15).

Perugino, Pietro (1446-1523)

(Perusin; Perrussinus; Peruginus; Perusia; Pervsinus; Vannucci, Pietro)

Perugino's perspectival practice was mentioned by Pacioli (1494,2r), Pélerin (1521,1r) and discussed by Vasari (II,125-128; III,262).

Pisenti, Giovanni Paolo (fl. c.1575-c.1583?)

Pesenti, Giovanni Paolo; Sabbionetta)

The Pisenti brothers, Giovanni Paolo and Giuseppe, who painted trompe l'oeil, were attributed by Battersby (1974, 55) to have painted illusionistic columns (Sabbioneta, Palazzo del Giardinoin, Corridor grande or Galleria degli Antichi) which Tellini Perina (1991, 59) claimed to be by Alessandro and Giovanni Alberti.

Pisenti, Giuseppe (fl. c.1575-c.1583?)

Pesenti, Giuseppe; Sabbionetta)

The Pisenti brothers, Giuseppe and Giovanni Paolo, who painted trompe l'oeil, were attributed by Battersby (1974, 55) to have painted illusionistic columns (Sabbioneta, Palazzo del Giardinoin, Corridor grande or Galleria degli Antichi) which Tellini Perina (1991, 59) claimed to be by Alessandro and Giovanni Alberti.

Piamonte, Giovanni di (fl. 1456)

(Giovanni Piamontese; Piamontese, Giovanni)

Paolucci (1966) mentioned Piamonte's Madonna Enthroned with Child (Madonna in trono col Bambino tra i Santi Florido e Filippo Benizzi, Citta di Castello, Santa Maria delle Grazie, 1456).

Piazzetta, Giovanni Battista (1682-1754)

G.B. Piazzetta, a student of G.M. Crespi, painted illusionistic ceilings (Venice, Santi Giovanni e Paolo, Cappella di San Domenico) which influenced Tiepolo according to Kellermann (1924, 159).

Pinturrichio, Bernardino (c.1454-1513)

(Bernardino di Betto; Betto, Bernardino di; Pintoricchio, Bernardino)

Pinturrichio painted a Life of Saint Jerome (Rome, Santa Maria del Popolo, Cappella di Giovanni Basso della Rovere, c. 1480); a Life of Saint Bernardine (Rome, Santa Maria in Aracoeli, Cappella Bufalini, 1485-1490) and a series of illusionistic wall frescoes (Rome, Belvedere, 1485-1487, now lost).

He was mentioned by Vasari (II,116; IV,217); discussed by Sandström (1963,97) and studied by Scarpellini (1968).

Piola, Domenico (1629-1703) (1718-1744)

Domenico Piola, a painter of quadratura, active in Genoa (Palazzo Brignole-Sale), along with Gregorio Ferrari and Giovanni Andrea Carlone, was mentioned by Kellermann (1924, 133) and Knall-Brskovsky (1984,45).

Pisanello (c.1397-1455)

(Pisano, Vittore)

Pisanello was an early practitioner of perspective best known in this context for a drawing (Paris, Louvre, Vallardi Collection) which was analysed by Edgerton (1975,52).

Pisano, Giunta (fl.1204-1254)

(Capitini, Giunta; Giunta Pisano)

Giunta Pisano was a practitioner of proto-perspective who painted a Life of Saint Francis (Pisa, San Francesco, 1240-1245).

Pleydenwurff, Hans (c.1420-1472)

Hans Pleydenwurff was a practitioner of proto-perspective mentioned by Harnest (1970,50).

Poccetti, Bernardino (1548-1612)

(Barbatelli, Bernardo)

Bernardino Poccetti made a fresco showing the Baptistery (Florence, San Marco) which was mentioned by White (1957, 287) and worked with Bernardo Buontalenti in painting illusionistic walls and ceilings (Florence, Boboli, Grotto Grande, 1583-1588) discussed by Zorzi (1977, pl.76-80).

Poleti, Ferdinando (fl. 1720-1721)

Ferdinando Poleti, active as a scenographer, who produced a scene for the Scherzo festivo tra le ninfe di Partenope by D. Sarro (Naples, Palazzo Reale, 1720 with an engraving now Naples, Biblioteca Nazionale) was listed by Mancini et al. (1975, 114).

Pollaiuolo, Antonio (c.1432-1498)

Pollaioulo's perspectival practice was discussed by Vasari (II,81). He made an allegorical sculpture of sight (prospectiva) on the tomb of Pope Sixtus IV (Rome, San Pietro in Vincoli, 1493) which was studied by Ettlinger and mentioned by Edgerton (1975,92).

Pollaiuolo, Piero del (c.1433?-1496)

Piero del Pollaiuolo painted an Annunciation (Die Verkündigung an Maria, Berlin, Gemäldegalerie, Kat. Nr. 73), which was a striking example of perspective.

Polling, Master of (fl. 1444)

(Meister von Polling)

The Master of Polling painted a proto-perspectival Presentation in the Temple (Darbringung im Tempel, Nürnberg, Germanisches Nationalmuseum, 1444) mentioned by Mumper (1970, 27).

Pontelli, Baccio (1450-1495)

Baccio Pontelli, attributed to have made the panelling with intarsia, based on designs by S. Botticelli, for the Studiolo of Federigo da Montefeltro (Palazzo Ducale, Urbino, c.1480) and have worked together with Francesco di Giorgio Martini on another Studiolo of Federigo da Montefeltro (Gubbio, now New York, Metropolitan Museum), was mentioned by Milman (1982, 50-51).

Pontormo (1494-1557)

Pontormo's perspectival practice was studied by Goldschmidt (1911).

Pordenone, Giovanni Antonio Licinio da (1483-1539)

(Licinio da Pordenone, Antonio; Sacchi, Antonio de'; Pordonone)

Pordenone painted an illusionistic ceiling (Treviso, Cattedrale, Cappella Malchiostro, 1519-1520) which was an important source for later work according to Knall-Brskovsky (1984,31). Pordenone's perspectival practice was discussed by Vasari (II,339-341; III,317), mentioned by Lomazzo (1585,270; 1590,150) and studied by Bora (1979).

Poyet, Jean (fl.1491-1497)

Jean Poyet, probably illuminated the Petites Heures d'Anne de Bretagne (Paris, Collection Gaston des Verges). Cited by Pélerin (1521) as a practitioner, he was one of the most famous painters of illuminated manuscripts considered by some superior even to Jean Fouquet as was noted by Brion-Guerry (1962,111,433).

PP, Master (fl.1470-1475)

(Master PP; Meister PP mit der Schlange)

Master PP, active in Ferrara in the 1470's, produced some remarkable woodcuts of semi-regular objects (Hamburg, Kunsthalle), which were published and discussed by Hofmann (1911).

Prandino, Ottaviano (fl. 1412-c.1500)

(Ottaviano da Brescia)

Ottaviano Prandino, a master of proto-perspective, worked with Altichiero (Padua, Salone dei Gigante) and Avanzi (Padua, San Giorgio).

Pratovecchio, Master of (fl. 1440-1460)

(Maestro di Pratovecchio; Master of Pratovecchio; Meister von Pratoveccio)

Paolucci (1966) cited this master's Three Archangels (Drei Erzengeln, Berlin, Dahlem) and his Madonna and Child (Cambridge, Mass., Fogg Art Museum).

Prevedari, Bernardo (fl. 1481)

Prevedari produced an important engraving (1481) of a church interior with figures based on a drawing by Donato Bramante which was the subject of studies by Alberici, Bruschi and Dalai-Emiliani at a Tavola Rotonda (Milan, 1978).

Primaticcio, Francesco (1504-1570)

Primaticcio's perspectival practice was discussed by Vasari (IV,194) and studied by Barocchi (1951).

Pucelle, Jean (fl. c.1300-1350)

Jean Pucelle was a practitioner of proto-perspective in the context of illuminated manuscripts in France. White (1957, 219-220) discussed his Heures de Jeanne d'Evreux (New York, Metropolitan Museum, Cloisters, c.1325-1328); his Bylling Bible (Paris, Bibliothèque Nationale, 1327); his Belleville Breviary and his Hours of Yolande of Flanders (London, British Library, Yates Thompson 27).

Pucelle, Jean; Atelier or Followers of (fl.c. 1325?-c. 1375?)

(Atelier or Followers of Jean Pucelle)

The Atelier or Followers of Jean Pucelle were mentioned by White (1957,222) as responsible for the Missal of Saint Denis (London, Victoria and Albert Museum, Ms. 18.3.91), which contains examples of proto-perspective.

Re, Vincenzo (fl. 1737-1762)

Vincenzo Re, a painter of illusionistic wall decorations and quadratura (Portici near Naples, Royal Palace, 18th c.), was mentioned by Milman (1986,74). Also active in scenography, he produced scenes for Il Sogno di Olimpia by D. Sarro (Naples, Sala del Real Palazzo, 1747 with 2 engravings by G. Vasi reproduced in Narrazione delle solenni feste..., Naples, 1748) as listed by Mancini et al. (1975, 1150).

René d'Anjou, Duke (1409-1480)

René d'Anjou, best known for Le livre du cueur d'amours espris (1457), the illustrations of which although they do not technically use linear perspective are remarkable for their spatial effects, was discussed by both Castelnuovo (1966) and Pächt (1973). This work was also attributed to the Master of René d'Anjou and to Barthelemy De Clerc. René d'Anjou is said to have met Van Eyck and may have been among those responsible for the introduction of oil painting to Italy.

René d'Anjou, Master of King (fl. 1446-1468

(Maestro di Re Renato)

The Master of King René produced a proto-perspectival church interior in his View Of Jerusalem (Veduta di Gerusalemme, London, British Library, Ms. Edgerton 1070, fol. 5). Castelnuovo (1966) attributed to him Le livre du coeur d'amours espris (Vienna, Osterrechische Nationalbibliothek, Hs. 2597, 1457). Brion Guerry (1962, 102) attributed to him this manuscript as well as the Traité de la forme et devis d'un tournoi (Paris, Bibliothèque Nationale, ms. fr. 2695, c. 1446); a part of the Théséide of Boccaccio (Vienna, Osterrechische Nationalbibliothek, Hs. 2617, c.1468); and perhaps the Chroniques of Froissart (Paris, Bibliothèque Nationale, ms. fr. 9604-9606).

Reni, Guido (1575-1642)

Guido Reni, a student of the Carracci family, who painted illusionistic ceilings and quadratura (Rome, Palazzo Rospigliosi, Aurora, 1609; Bologna, San Domenico; Rome, Santa Maria Maggiore), was mentioned by Kellermann (1924, 97-98).

Ricciarelli, Daniello (c.1509-1566)

Ricciarelli's perspectival practice was discussed by Vasari (IV,74).

Righini, Pietro (1683-1742)

Pietro Righini, active in scenography, designed the scenes for Medo by L. Vinci (Parma, Teatro Ducale, 1728, with 8 engravings by I. Vezzani now Milan, Scala and Venice, Collezione A. De Giorgio; for Le Nozze di Nettuno l'Equestre con Anfitrite by L. Vinci (Parma, Teatro Farnese, 1728, with 1 engraving by I. Vezzani entitled Vestibolo del tempio di Nettuno now Venice, Fondazione G. Cini), and Le Nozze di Teti e Peleo by D. Sarro (Naples, Palazzo Reale, 1739 with an engraving by F. Sesone, now Naples, Collezione Privata), as listed by Mancini et al. (1975, 104, 114-115).

Rimini, Francesco da (fl. 1330-1340)

(Da Rimini, Francesco; Francesco da Rimini)

Francesco da Rimini was a practitioner of proto-perspective who painted a Life of Saint Francis (Assisi).

Rinuccini Chapel, Master of (fl.1350-1400)

(Master of the Rinuccini Chapel)

The Master of the Rinuccini Chapel was an important practitioner of proto-perspective who was influenced by Nardo di Cione and Orcagna and painted the lowest tier of a Life of the Virgin (Florence, Santa Croce, Sacristy, Rinuccini Chapel, late 14th c.) which included a Presentation of the Virgin in the Temple. Bellosi (1973) suggested that the Master of the Rinuccini Chapel might be Matteo di Pacino. Other parts of this chapel were painted by Giovanni da Milano.

Rivarola detto il Chenda, Alfonso (1591/1607-1640)

(ARF; Chenda, A.; Chenda, Il; Il Chenda)

Alfonso Rivarola, a designer of stage scenery, produced the theatre and designs for Il Torneo Bonacossi (Ferrara, Castello, Salone dei Giganti, 1631) for the wedding of F. Sacchetti with B. Tassoni Estense (4 engravings now Rome, Palazzo Corsini, Biblioteca dell'Accademia Nazionale dei Lincei); L'Alcina maga by S. Martini (Ferrara, Castello, Salone dei Giganti, 1631, 2 engravings now Rome, Palazzo Corsini, Biblioteca dell'Accademia Nazionale dei Lincei) and L'Ermiona by F. Sances (Padua, Theatre erected in Pra' della Valle in the locale known as Lo Stallone, Padua, 1636 with 15 engravings now in Rome, Biblioteca musicale di Santa Cecilia), which were cited by Mancini et al. (1975, 60-61).

Roberti, Ercoli di (c.1440-1513)

(Di Roberti, Ercole; Ercole da Ferrara; Ercole di Roberti)

Ercole de'Roberti and Francesco del Cossa painted the predella panels of the Life of Saint Vincent Ferrer (Rome, Vatican, n.286, c.1475-1477). Ercole's perspectival practice was discussed by Vasari (II,43).

Robbia, Luca Della (1397-1482) (1400-1482)

Luca della Robbia was cited by Vasari (I,231) as one of the early examples of someone who used a mirror in painting his own portrait. Harnest (1971,100) mentioned his work.

Roli, Giuseppe Maria (1645-1727)

Giuseppe Maria Roli, a student of Canuti, who worked with his brother Antonio Roli as a painter of illusionistic ceilings (Bologna, Chiesa di San Paolo), was mentioned by Kellermann (1924,110).

Roli, Antonio (1643-1696)

Antonio, active as a painter of quadratura worked with his brother Giuseppe Maria Roli who did the illusionistic figures for ceilings (Bologna, Chiesa di San Paolo), was mentioned by Kellermann (1924,110). When Antonio died his work was continued by his assistant, Paolo Antonio Guidi.

Romano, Antoniazzo (fl.1452-1508)

(Antonazzo di Benedetto Aquilo; Antoniazzo Romano; Aquilo, Antonazzo di Benedetto)

Antoniazzo Romano, a practitioner of proto-perspective painted Saints Vincent, Illuminata and Nicola (I Santi Vincenzo, Illuminata e Nicola, Montefalco, San Francesco), Stories of Saint Francesca Romana (Storie di Santa Francesca Romana, Rome, Convento di Tor de'Specchi) and an Assumption of the Virgin (Assunzione della Vergine, Tivoli, San Giovanni) which were mentioned by Paolucci (1966).

Romano, Giulio (1492-1546)

(Pippi, Giulio)

As a practitioner Romano was most famous for his illusionistic walls and ceilings (Mantua, Palazzo del Te, Sala dei Giganti and Verona, Cattedrale), and for his frescoes with the Life of Constantine (Rome, Vatican, Sala di Constantino, c.1520-1524). He was mentioned by Vasari (III,100,105,298), discussed by Bassi (1573), studied by Kellermann (1924), Hartt (1958), Sandström (1963) and Knall-Brskovsky (1984,27,31) who referred to Sorte's (1580,94) praise of his important role in the development of ceiling painting. Said to be based on Giulio Romano are drawings by an anonymous artist in the Mantua Sketchbook edited by Huelsen and Egger (1916, 6r,10r,18r). Stein (1969, 29) cited a drawing copied by Giulio Romano from an unknown Netherlandish source.

Rosa, Cristoforo (c.1520-1576/1577)

(Rosa, Cristofano)

(Cristofano da Brescia)

Cristoforo Rosa and his brother Stefano painted illusionistic ceilings in Venice (Santa Maria dell'Orto, 1556 and San Marco, Libreria, 1560). The Rosas' activities as practitioners of perspective were mentioned by Vasari (III,322), discussed by Sjöström (1972) and Knall-Brskovsky (1984).

Rosa, Stefano (c. 1530-1572)

(Stefano da Brescia)

Stefano Rosa and his brother Cristoforo painted illusionistic ceilings in Venice (Santa Maria dell'Orto, 1556 and San Marco, Libreria, 1560). The Rosas' activities as practitioners of perspective were mentioned by Vasari (III,322), discussed by Sjöström (1972) and Knall-Brskovsky (1984).

Rosselli, Cosimo (1439-1507)

Rosselli worked in Florence (Santa Trinita, Cappella Scali, c.1460) and worked with Ghirlandaio and Perugino in Rome (Vatican, Sistine Chapel, 1481).

His activities as a practitioner of perspective were mentioned by Vasari (II,54). Saalman (1968) attributed to Rosselli both the Urbino and the Baltimore Panels. Cosimo Rosselli and an architect in the circle of San Gallo were suggested by Fabbri, Zorzi, Tofani, (1975, 76-79) as the painters of the famous Baltimore Panel (Baltimore, Walters Art Gallery) showing an idealized city which has been variously attributed to Piero della Francesca, and Luciano da Lauranna.

Rossi, Domenico Egidio (fl. c.1690-1700)

Domenico Egidio Rosso, a painter of quadratura (Vienna, former Palais Czernin), was discussed by Knall-Brskovsky (1984, 188-191).

Rossi, Gian Domenico (fl. 1755-1763)

G.D. Rossi, a painter of quadratura (Saluzzo in Piedmont, Chiesa della Confraternita della Misericordia, 1763) was mentioned by Milman (1986, 62).

Rossi, Mariano (1731-1807)

Mariano Rossi, active as a painter of illusionistic ceilings (Rome, Casino Ludovisi), was mentioned by Kellermann (1924, 159).

Rossi, Nicola (f. 1686-1746)

Nicola Rossi, active in scenography, produced scenes for Il Partenio by Domenico Barone (Naples, Palazzo Reale, 1746 with an engraving now Naples, Biblioteca di Storia Patria).

Rosso Fiorentino (1494-1541)

Rosso Fiorentino's perspectival practice was discussed by Vasari (II,356).

Rottmayr, Johann Michael (1654-1730)

J.M. Rottmayr, an expert in quadratura, worked with G. Fanti on a Glory of Saint Benedict (Stift Melk, 1720-1721).

Rousseau, Jacques (fl. 1679)

Rousseau, a student of Herman van Swanevelt lived in Italy as a young man, moved to Paris and died in London. As a practitioner of perspective he excelled in landscapes. He was most famous for his trompe l'oeil frescoes, perspectives, such as the Orangerie of Saint Cloud, that of Monsieur Fieubet near the Arsenal and that of the Marquis de Dangeau at the Place Royale which he painted in 1679 and that of the Hotel de Saint Pouange.

He was discussed briefly by Mariette (1859-1860).

Ruggieri, Cosimo ()

Cosimo Ruggieri, active in scenography, designed the stage scenery for Arimène by R. De Montreuil (1596), at the behest of Maria De'Medici which, along with Namoccio (1548) was one of the early examples of Italian principles being used in France according to Povoledo (1975,1597).

Rustico, Giovan Francesco (1474-1554)

Rustico was discussed by Vasari (IV,28-29,31).

Sacha, Paolo del (1468-1537)

Paolo del Sacha, active as a master of marquetry, was studied by Bonetti (1919).

Sachselner Altar, Master of the ()

The Master of the Sachselner Altar, a practitioner of proto-perspective, painted an Annunciation (Verkündigung, Stift Engelberg), cited by Stange (1955, VII, 192).

Saenredam, Pieter (1597-1665)

Saenredam, famous as a painter of church interiors, was first studied seriously in a catalogue by De Smedt (Utrecht, 1961).

Modern scholarship of Saenredam began with Swillens (1935). Basic remains a Catalogue raisonnée (1961) published in connection with an exhibition at Utrecht reviewed by Hinks (1962). Heckmanns (1965) explored the problem of his use of space which led to a review by Carter (1967) and work by Liedtke (1971, 1975-1976). Ruurs (1980) examined his principle of proportional notation drawing. He went on to study Saenredam's perspectival constructions (1982) and his library (1983). An exhibition of Dutch Church Painters (1984) included an attempted reconstruction of the Edinburgh Saenredam. Kunst (1986) raised questions concerning reality and fiction in Saenredam's paintings. Ruurs (1987) remains the standard analysis of perspective in Saenredam. A useful source for images, particularly in terms of relating Saenredam's views to ground-plans is Schwartz and Bok (1990). The larger context of Saenredam's activities was the subject of an exhibition at the Boymans van Beuningen Museum in Rotterdam (1991).

Saint Giles, Master of (fl. c. 1500)

(Saint Gilles, Master of)

The Master of Saint Giles, who worked in Paris, painted a Mass of Saint Giles (London, National Gallery, c.1500) with a view of Saint Denis, which was mentioned by Ragghianti (1977, 485) and which according to the National Gallery Catalogue (1973,445) was "the only representation of the church as it was found c. 1500".

Salimbeni, Jacopo (fl. 1427)

Jacopo Salimbeni was a practitioner of proto-perspective who worked with Lorenzo Salimbeni on the Life of Saint John the Evangelist (San Severino, Duomo, 1416).

Salimbeni, Lorenzo (c.1374-1416)

Lorenzo Salimbeni was a practitioner of proto-perspective who worked with Jacopo Salimbeni on the Life of Saint John the Evangelist (San Severino, Duomo, 1416).

Salmon, Gabriel (fl c. 1513-1528)

Gabriel Salmon, a practitioner of proto-perspective at the court of Lorraine, who illustrated the works of the poet Pierre Gringoire: Menus propos (1521), Heures de Notre Dame (1528), Chants Royaux (1528) and Les Travaux d'Hercules, was mentioned by Brion-Guerry (1962, 113).

Salmon, Pierre (fl. c. 1390?-1400?)

Pierre Salmon, who produced a manuscript of Les demandes fait par le roi Charles VI (Geneva, Bibliothèque publique et universitaire, Ms. fr. 165, c. 1412-1420), an example of proto-perspective applied to interiors, was mentioned by Ragghianti (1976, 468), who noted that this was attributed by some to the Boucicaut Master.

Salviati, Francesco detto De'(1510-1563)

(Rossi, Francesco)

Francesco Salviati, attributed to have drawn a Street with a View of the Uffizi (Strada con veduta degli Uffizi, London, British Library, 16th c.), connected with scenography, was discussed by Vasari (IV,58-60,63) as a practitioner of perspective and listed by Mancini et al. (1975,83) and Stein (1969, 47-50).

Salviati, Leonardo (1540-1589)

Leonardo Salviati, active in scenography, wrote Il Granchio (Florence, 1560, 1566), the illustration to which was mentioned by Stein (1969, 47-50) and studied by Zorzi (1975, fig. 52), who suggested that it might have been by Vasari, noting that it represented a view of Santa Trinità looking towards the Arno, which was taken up anew in Ghirlandaio's fresco of Saint Francis Healing a Boy (Florence, Santa Trinità, Cappella Sassetti, 1485).

Sandrino, Tommaso (1575-1630)

(Sandrini, Tommaso)

T. Sandrino, a painter of illusionistic ceilings and quadratura (Reggio in Emilia, San Giovanni Evangelista) was mentioned by Knall-Brskovsky, (1984,pl.13).

San Gallo, Antonio da (1455-1534)

Vasari (II,211) reported that Antonio and Giovanni da Sangallo, the sons of Francesco di Paolo Giamberti, became famous for their marquetry as a result of studying with Francione.

San Gallo, Bastiano di (1481-1551)

(Aristotile da San Gallo; Bastiano da San Gallo)

This practitioner, who studied architecture and perspective under Bramante in Rome, became a specialist in stage scenery. He worked with Franciabigio and Ridolfo Ghirlandaio in the perspective views of comedies (Florence, Palazzo Medici, 1518); worked with Andrea del Sarto on perspective scenes for La Mandragola (Florence, 1525); prepared the perspective scene for Clizia (Florence, 1526), the scene for a comedy and tragi-comedy by Giovan Maria Primerani (1534); was attributed by Stein (1969, 29) to have made a drawing with architecture for the theatre (Florence, Uffizi) and by Zorzi (1977, fig.56) to have made a drawing of a perspective scene (New York, Collection of D. Oenslager, c.1535); made the apparatus for Commodo (1539), and said by Zorzi to have added illustrations and commentary to a 1486 edition of Vitruvius (Rome, Biblioteca Corsiniana), which Stein attributed to G.B. da Sangallo. He was mentioned by Vasari (III,294-295) and Lanci (1795) and discussed by Zorzi (1977, 86, 88, 93-96, 104, 193-196).

Sangallo, Giovanni da (1445-1516)

Vasari (II,211) reported that Giovanni and Antonio da Sangallo, the sons of Francesco di Paolo Giamberti, became famous for their marquetry as a result of studying with Francione.

Sano di Pietro (1406-1491)

(Di Pietro, Sano; Pietro, Sano di)

Sano di Pietro, a pupil of Sassetta, painted a Life of Saint Bernardine; a predella panel of the Life of Saint Jerome (Paris, 1444) and a Sermon of Saint Bernardine (Predica di San Bernardino nel Campo; Predica di San Bernardino in Piazza San Francesco, Siena, Duomo, 1456).

San Severino, Lorenzo da (1374-) (fl.1481-1483

Paolucci (1966) cited his Miracles of Saint Anthony of Padua (Miracoli di Sant'Antonio da Padova, Montefalco, Chiesa di San Francesco).

Santa Croce, Francesco di Gerolamo da (1516-1584)

(Francesco di Gerolamo da Santa Croce)

Francesco di Gerolamo da Santa Croce painted an example of linear perspective (Martyrdom of Saint Stephen, Martyrium des Heiligen Stephanus, Berlin, Gemäldegalerie, Kat. Nr. 26).

Santurini, Francesco (1627-post 1688)

Francesco Santurini, who practiced scenography, produced the stage settings for Berenice vendicativa by D. Freschi (Piazzola, Teatro di Villa Contarini, 1680 with 12 engravings by D. Rossetti and I. Ruphon now Venice, Fondazione G. Cini), and for L'Amante muto loquace by D. Freschi (Piazzola, Teatro secondo di Villa Contarini, 1686, with 3 engravings now Venice, Casa Goldoni), which were cited by Mancini et al. (1975, 63-64).

Saravallino, Guido da ()

Guido da Saravallino was a practitioner of marquetry (Pisa, Duomo) who was discussed by White (1957,189-190).

Sarto, Andrea del (1486-1530)

(Andrea del Sarto; Del Sarto, Andrea)

Andrea del Sarto, active in scenography, worked with Bastiano da Sangallo on scenes for La Mandragola (Florence, 1525). His work as a practitioner of perspective was mentioned by Harnest (1971,15).

Sassetta, Stefano di Giovanni di Consolo detto (c.1392-1450)

(Consolo; Di Consolo; Stefano di Giovanni di Consolo)

Sassetta, best known for an altarpiece (Florence, Uffizi, c.1430-1432); his Life of Saint Francis (Sansepolcro, 1444); panels of an altarpiece with the Legend of Saint Francis (7 of which are now in London, National Gallery and others in Chantilly, Musée Condé); panels with a Life of Saint Anthony the Great (Englewood), and his Life of Saint Thomas Aquinas (Budapest), was the teacher of Sano di Pietro.

Scanotti, Arduino (fl. 1470)

Scanotti was mentioned by Benedetto Dei (1470, fol.90r) as one of the practitioners of marquetry active in Florence at the time.

Scarabelli, Orazio (fl. 1589)

O. Scarabelli, responsible for a series of engravings, based on Buontalenti, which illustrated some of the principal aspects of the festivities of the marriage of Ferdinand I and Cristina di Lorenza in 1589 (e.g. Veduta del cortile di Palazzo Pitti con l'apparato per la naumachia del 1589, Florence, Uffizi, Gabinetto disegni e stampe, n.102514), was studied by Fabbri, Zorzi, Tofani (1975, 111, 137-139) and mentioned by Zorzi (1977, fig. 98).

Schäuffelein, Hans (1486-1530) (fl. 1515-1540)

Hans Schäuffelein, a student of Dürer and a practitioner of perspective, was mentioned by Brion-Guerry (1962, 118) and Harnest (1971,34).

Schaffner, Martin (1477/1478-1547)

Martin Schaffner, an early practitioner of perspective in Germany, painted a Presentation in the Temple (Darbringung im Tempel, Munich, Alte Pinakothek, Wettenhausen Altarpiece, Inner left wing, 1523) analysed by Harnest (1971,37).

Schiavo, Paolo (1397-1478)

(Badaloni, Paolo di Stefano)

Paolo Schiavo and Vecchietta worked with Masolino and then finished painting a Life of Saint John the Baptist and a Life of Saint Lawrence (Castiglion D'Olona, 1435 ff.).

Schongauer, Martin (c.1450-1491)

Martin Schongauer, an early practitioner of perspective in Germany painted an Adoration of the Shepherds (Anbetung des Kindes, Berlin, c.1480); and made engravings of the Madonna and Child (Madonna und Kind ), Death of Maria (Tod der Maria), Birth of Christ (Geburt Christi) and an Incense Burner (Das Räucherfass) which were analysed by Harnest (1971,17-18).

Schor, Christoforo (fl. until c. 1730)

Cristoforo Schor, active in scenography, produced a scene for Gli Orti Esperidi by N. Porpora (Naples, Palazzo Reale, 1721 with an engraving by F. De Grado now Venice, Biblioteca Marziana).

Schor, Johann Paul (1615-1674)

Johann Paul Schor, from Innsbruck, active in painting illusionistic quadratura and ceiling decorations for which Giovanni Coli and Filippo Gherardi provided the contents (Rome, Palazzo Colonna, 1665-1668), was mentioned by Kellermann (1924, 155-156).

Scipione, Jacopino da (fl.1507-1532/1543)

Scipione dal Ferro ()

Scipione dal Ferro was a practitioner mentioned by Speziali (1953).

Sconzani, Ippolita (fl. 1711-1723)

I. Sconzani, a cousin of Beduzzi who worked with him as a painter of quadratura (Stift Sankt Florian, Kunstkammer and Marmorsaal), was discussed by Knall-Brskovsky (1984, 221-225).

Seghizzi, Andrea (fl.1630-1684)

(Sighizzi, Andrea)

Andrea Sighizzi, a student of A. M. Colonna and painter of illusionistic wall decorations, quadratura, and trompe l'oeil (Genoa, Palazzo Reale, 17th c.), was mentioned by Milman (1986, 84).

Servandoni, Giovanni Niccolo (1695-1766)

Luigi Servandoni, active in scenography as J. Bérain's successor as director of stage designs at the Opéra in Paris (1728-1735), and designer of the visual spectacles at the Salle des Machines (1738-1758), who re-introduced the Italian illusionistic scene tradition, was discussed by the Enciclopedia dello Spettacolo (8, 1961, pp. 1867-1880) and mentioned by Povoledo (1975,1597).

Severino e Sossio, Master of Saints (fl. c.1470)

(Maestro dei Santi Severino e Sossio; Santi Severino e Sossio, Maestro dei)

Paolucci (1966) cited this master's Saint Severinus as Bishop (San Severino Vescovo, Naples, Chiesa dei Santi Severino e Sossio).

Signorelli, Luca (1441?-1523)

(1445-1450)

(Cortona, Luca da; Luca da Cortona)

Signorelli, a practitioner of perspective, who painted 10 stories in the Life of Saint Benedict (1497-1498) at Monte Oliveto Magiore, is best known for the scenes in the Chapel of San Brizio in Orvieto Cathedral (1499). Attributed to him is an Annunciation (Arezzo, San Francesco). He was called Luca da Cortona and a worthy disciple of Pietro da Cortona by Pacioli (1494,2r); mentioned by Vasari (II,146,153; IV,217), and studied by Baldini.

Sobieski Hours, Master of the (fl. c. 1400-1410?)

(Master of the Sobieski Hours)

The Master of the Sobieski Hours (Windsor, Royal Library) was an early source of proto-perspective, who along with the Master of the Bedford Hours was linked by White (1957,235,n.37) with the Très riches heures du Duc de Berry by the Limbourg brothers.

Sodoma (1477-1549)

(Bazzi, Giovanni Antonio)

Sodoma painted a refectory (Caprena near Pienza, Sant'Anna, 1503) and finished the narrative cycle of the Life of Saint Benedict (Monte Oliveto Maggiore, 1505-1508) begun by Signorelli (1497-1498). His perspectival practice was discussed by Vasari (III,289). A sketch for a Vault Decoration (Castello di Belcaro, now Florence, Uffizi, c.1525), was attributed to him by Sjöström (1978, pl.4).

Soggi, Niccolo (1480-1554)

N. Soggi, a practitioner of perspective mentioned by Vasari (III,156-157), had a pupil Domenico Giuntalodi.

Sogliani, Giovanni Antonio (1492-1544)

Sogliani was a practitioner of perspective mentioned by Vasari (II,344).

Solimena, Francesco (1657-1747)

Francesco Solimena, in Naples, who became one of the leading painters of illusionistic ceilings in the eighteenth century (Naples, San Domenico, San Paolo), was mentioned by Kellermann (1924, 152-154). His student, Francesco de Mura, continued this tradition, while Sebastiano Conca introduced more modern aspects.

Soufflot, Jacques Germain (1709-1780)

I. G. Soufflot, who combined aspects of architecture with illusionistic ceilings (Paris, Pantheon, 1757), was mentioned by Kellermann (1924, 187).

Spada, Valerio (1613-1688)

Valerio Spada made 6 engravings for the Ballet des cinges et des ours for Act I; 6 engravings for the Ballet des austruches for Act II; 6 engravings for the Ballet des Indiens et des perroquets for Act III of La finta pazza by F. Sacrati (Paris, Salle du Petit Bourbon, 1645) as listed by Mancini et al. (1975, 154-155).

Spinelli, Parri (1387-1452)

Spinelli was mentioned by Vasari (I,258) for painting an image reflected in a mirror.

Spinello Aretino (1333-1410) (1346/1347-c.1408)

(Spinello di Luca Spinelli; Spinelli, Spinello di Luca)

Spinello Aretino was a practitioner of proto-perspective known for his Life of Saint John the Baptist and Life of Saint Benedict (Parma, Pinacoteca); an Annunciation (Arezzo, San Francesco); a Life of Saint Catherine (Antella near Florence, Oratorio of Saint Catherine, c.1390) and frescoes (Arezzo, San Domenico, 1408). Vasari (I,176) mentioned his Life of the Virgin (Florence, Carmine), now attributed to his son Filippo, in which he "very judiciously continued the scene to the vaulting on one of the sides".

Squarcione (1397-c. 1468)

Squarcione, a practitioner of perspective in Padua, one of the early teachers of Mantegna, was studied by Muraro (1959).

Stagi, Domenico (fl. 1735-1776)

Domenico Stagi, a painter of quadratura (Florence, Santa Maria del Carmine, 1782, where the figures were painted by Giusepppe Romei), was mentioned by Kellermann (1924,114)

Steen, Jan (1625/1625-1679)

Jan Steen was a practitioner of perspective. He was mentioned by White (1957, 277,n.4).

Steenwyck, Hendrick Van, de Oude (c.1550-1603)

Hendrick van Steenwyck the Elder, was a painter of architectural church interiors.

Schneede (1965) and Ballegeer (1967) examined his work in relation to Vredeman de Vries. Daniëls (1977-1978) examined his use of Maria symbolism. Some of his interiors were cited in the catalogue by Giltaij (1991). Careful reconstructions of his use of space have not been made.

Steenwyck, Hendrick Van, de Jonge (c. 1580?-d.1649)

(Steenwyck II, Hendrick Van)

Hendrick Van Steenwyck the Younger was a painter of architectural church interiors and architectural phantasies such as a Courtyard of a Renaissance Palace (London, National Gallery)

Ballegeer (1967) examined his work in relation to Vredeman de Vries. Some of his paintings were cited in the catalogue by Giltaij (1991).

Stefano (1301-1350)

(Scimmia, Stefano)

Stefano was credited by Vasari (I,94-95,97,207) as one of the early innovators of perspective, who was given the nickname 'Ape of nature'.

Strozzi, Lorenzo (1482-1551)

Lorenzo Strozzi, the author of two comedies, Pisana and Falargo (Florence, Palazzo Medici, 1518) for which the Baltimore and Berlin Panels might possibly have served as stage designs, was mentioned by Zorzi (1977, 307-308). Cf. Machiavelli.

Tacca, Ferdinando (1619-1689)

Ferdinando Tacca, active in scenography, designed the scenes for L'Ipermestra ovvero Della presa d'Argo e degli Amori di Linceo con Hipermestra by F. Cavalli (Florence, Teatro degli Immobili, 1658 with 12 engravings by M. Belloni now Rome, Palazzo Corsini, Biblioteca dell'Accademia Nazionale dei Lincei); illustrated La Sala del Teatro degli Immobili (Rome, Galleria Nazionale dei Disegni) and Ercole in Tebe by J. Melani (Florence, Teatro degli Immobili, 1661 with 12 engravings by M. Belloni from Delle Poesie dramatiche di G.A. Moniglia now Rome, Palazzo Corsini, Biblioteca dell'Accademia Nazionale dei Lincei) was listed by Mancini et al. (1975, 71-72) and mentioned by Schnapper (1982, fig. 62).

Tanzio Da Varallo (1576-c.1626)

(Da Varallo, Tanzio; Varallo, Tanzio Da)

Tanzio Da Varallo, who worked with Il Morazzone on the Ecce Homo Chapel (Varallo in Piedmont, Chiesa di Sacro Monte, 1609), was mentioned by Milman (1986, 63).

Tassi, Agostino (1580-1644)

Agostino Tassi was a painter of vault decorations (Rome, Palazzo Palavicini-Rospigliosi, Casino delle Muse, 1611-1612; Rome, Palazzo del Quirinale, Sala Regia, 1616-1617 with G. Lanfranco; Rome, Palazzo Lancellotti ai Coronari, 1617-1623; Rome, Casino Ludovisi, 1621-1623 with Guercino). He was the teacher of Claude Lorrain.

Hess (1935) examined his illusionistic ceilings in the context of baroque painting in Rome. Both the work of Agostino and his brother Alberti were mentioned by Kellermann (1924,99), discussed by Sjöström (1978) and mentioned by Knall-Brskovsky (1984,29) and Milman (1986, 31).

Tassi, Alberti (fl. c. 1726?-c.1749?)

Alberti Tassi and his brother Agostino were practitioners of illusionistic ceilings and quadratura mentioned by Knall-Brskovsky (1984,29).

Tassi, Antonio (fl.1740-1747)

Antonio Tassi, a painter of quadratura (Stift Sankt Florian, Bibliothek; Vienna, Heiligenkreuzerhof, Kapelle and Wallfahrtskirche am Sonntagberg) was discussed by Knall-Brskovsky (1984, 181-187, pl. 68-71). Sjöström (1978, pl.37) attributed to him the frame at the Sommerrefektorium (Stift Geras in Austria, 1738).

Tebaldi, Pellegrino (1527-1596/1600)

(Pellegrino Bolognese; Tibaldi, Pellegrino)

Tibaldi altered the Annunciation relief in Milan Cathedral and worked on illusionistic ceilings (Bologna, Palazzo Poggi, Sala di Ulisse, 1552 or after 1554). He later worked with Perin del Vaga (Rome, Castel San Angelo, Sala Paolina, 1546-1547). Tibaldi's role as a practitioner of perspective was mentioned by Vasari (IV,197,317), Kellermann (1924), and studied by Sandström (1963), Sjöström (1978) and Knall-Brskovsky (1984,38) who linked him with Barozzi il Vignola. Tibaldi's work in Milan Cathedral was the subject of a commentary by Bassi (1572), which was in turn discussed by Panofsky, 1927,n.68).

Tencalla, Capoforo (1623-1685)

(Tencala, Capoforo)

Capofera Tencalla, a painter of ceiling decorations or quadratura (e.g. Schloss Petronell, Saal) was discussed by Knall-Brskovsky (1984, 118-120, pl.27-28).

Tempesta, Pietro (c.1637-1701)

Pietro Tempesta, a painter of illusionistic wall decorations (Rome, Palazzo Colonna, Drawing Room), was mentioned by Milman (9186, 82).

Tiepolo, Giambattista (1696-1771)

Giambattista Tiepolo was a painter of ceiling decorations for whom Gerolamo Mengozzi-Colonna did the quadratura (Venice, Palazzo Labia, Gran Salone, 1745-1750 or 1757). His sketch for a ceiling decoration with a Triumph of Hercules (New York,Pierpoint Morgan Library) was discussed by Sjöström (1978,pl.62-63) and mentioned by Milman (1986, 70). Kellermann (1924, 161) mentioned other paintings (Villa Valmerana near Vicenza, 1737; Stra, Villa Reale; Venice, Chiesa dei Gesuiti, 1739; Würzburg, Residenzschloss, 1751; Madrid, Palacio Real, 1761-1764).

Tintoretto (1518-1594)

(Robusti, Jacopo)

Tintoretto was active as a painter of perspectival interiors and illusionistic ceilings (Venice, San Rocco; Palazzo del Doge)

Mentioned in passing by Vasari (IV,23-26) for his work on foreshortening, and cited by Kellermann (1924, 83), Van Thiel (1969) examined anamorphic efects in his Last Supper (Venice, San Giorgio Maggiore). Marinelli (1980) examined the construction of space in his paintings.

Titian of Cadore (1477-1576) (1490-1576)

(Tiziano Veccellio)

Titian's importance as a practitioner of perspective was acknowledged by both Vasari (IV,209-210, 212-213,206) and Lomazzo (1590,53,148). His illusionistic ceilings (Venice, Chiesa della Salute) were mentioned by Kellermann (1924). His scenes for Talanta by Pietro Aretino (Canaregio, 1542), were mentioned by Zorzi (1977, 309).

Turreau, Jean Bernard Honoré, named Toro (1672-1731)

(Le Sieur Thoreau; Toro, J. Bernard)

Turreau was drawer and sculptor to the King of France, studied with Monsieur Puget. He designed perspectives, i.e. trompe l'oeil walls, which were the specialty of individuals such as Jacques Rousseau.

A standard article on his work is by Pons (1858-1860).

Tura, Cosimo (c.1430-1495)

Cosme Tura was a practitioner of perspective in Ferrara known for his Virgin and Child Enthroned (London, National Gallery).

Uccello, Paolo Doni (c. 1397-1475)

(Doni, Paolo)

Uccello is famous for his mania for perspective and his role as one of the inventors of marquetry.

Mentioned by Vasari (I,232-239,252), modern literature began with Loeser (1898), Reymond (1905), Campani (1910), Seidel (1913), Longhi (1914) and Fry (1914). Kern (1915), in an important article related a tradition of Florentine hats to Uccello's mazzocchio drawings which he reconstructed perspectivally and connected with Barbaro's (1568) later engravings. Marangoni (1919) discussed Uccello's Hawkwood fresco (Acuto). Studies by Mesnil (1925-1926), Venturi (1930), Poggi (1933), Podelko (1934) and Oertel (1937-1940) were more general. Boeck (1932, 1933, 1939) in articles and then in a monograph discussed Uccello's contribution in terms of the development of a perspective style. Pope-Hennessy (1950, 8 ff.,153) produced his Complete works of Paolo Uccello with only brief mention of his perspective. White (1957) mentioned his Attempt to Destroy the Host and Profanation of the Host (Urbino, Palazzo Ducale), his Flood (Florence, Santa Maria Novella), Hawkwood Monument (Florence, Santa Maria del Fiore), Mazzocchi Drawings, Nativity and Annunciation, Redemption of the Cloak, and his Route or Battle of San Romano (Florence, Uffizi; London, National Gallery and Paris, Louvre). Gioseffi (1958) reassessed his contribution. Sindona (1959) explored critical and fantastic elements in his paintings, notably the Saint George and the Dragon (Paris, Jaquemart André) followed by further studies (191960,1970,1972). Meiss (1970) examined the original position of the Hawkwood Monument. Rossi, Beccatini, Lauri-Gherardi (1972) reconsidered his use of perpective. Meanwhile, Parronchi made important contributions in a series of articles: (1957) examining his sources; (1961) raising questions of authorship of the mazzocchio figures attributed to Uccello and Piero della Francesca; (1962) analysing his Annunciation (now Washington, National Gallery). These were reprinted in hiis Studies (1964) and the themes were taken up afresh a decade later (1974).

Urbain

Urbain, cited by Pélerin (1521) as a practitioner, was identified as either Bramante or Raphael by Brion-Guerry (1962,442-443).

Urbani, Andrea (1711-1797)

Andrea Urbani, active in scenography, produced scenes for La Diavolessa by B Galuppi and Alessandro nelle Indie (Venice, Teatro di San Samuele, 1755); La Cascina by G. Scolari and I tre Matrimoni by N. Calandra (Venice, Teatro di San Samuele, 1756); for L'Isola disabitata by G. Scarlatti (Venice, Teatro di San Samuele, 1757) and Astinatte by G. Pampani (Venice Teatro di San Moisé, 1755) for which isolated preparatory drawings remain in Venice, Collezione Urbani de Gelthof), as listed by Mancini et al. (1975, 120-123).

Uttenheim, Master of (fl.c. 1450-c. 1480)

(Maestro di Uttenheim; Master of Uttenheim; Meister von Uttenheim)

The Master of Uttenheim, a practitioner of proto-perspective, known for his Rejection of Joachim's Offering (Abweisung von Joachim's Opfer, Neustift, c.1450-1460) cited in Stange (1960, X, 255) and his Uttenheim Altar (Vienna, Osterrechische Galerie, 1460-1480), was mentioned by Castelnuovo (1966).

Vaga, Pierino del (c. 1500-1547)

(Del Vaga, Perin; Perin del Vaga)

Pierino del Vaga worked under the direction of Giovanni da Udine in Raphael's workshop (Vatican, Loggie, Sala Di Papa) as mentioned by Kellermann (1924); worked with Pellegrino Tebaldi as a painter of illusionistic wall scenes (Genoa, Palazzo Doria, North Front); Rome, Castel San Angelo, Sala Paolina, 1546-1547). His role as a practitioner of perspective was mentioned by Vasari (III,123, 135) and Milman (1986,44).

Valeriani, Domenico (fl. c. 1720-before 1771)

Giuseppe and Domenico Valeriani, who painted illusionistic ceiling decorations and quadratura (Turin, Villa Stupingi, 1731) were mentioned by Battersby (1974, 63-64).

Valeriani, Giuseppe (fl. c. 1720-before 1771)

Giuseppe and Domenico Valeriani, who painted illusionistic ceiling decorations and quadratura (Turin, Villa Stupingi, 1731) were mentioned by Battersby (1974, 63-64).

Vanni, Lippo (after 1341-1375)

(Lippo Vanni)

White (1957,112,n.12) mentioned his frescoed illusions.

Vanvitelli, Gaspare (1653-1736)

(Gaspare dagli Occhiali; Occhiali, Gaspare dagli; Van Wittel, Gaspare)

Gaspare Vanvitelli was mentioned by Lanci (1795,572-575).

Vanvitelli, Luigi (1700-1773)

Luigi Vanvitelli, active in scenography, illustrated a Prison (Carcere, and four other drawings now in Reggia di Caserta) as listed by Mancini et al. (1975,101).

Vecchi, Orazio (1550-1605)

Orazio Vecchi, active as a playwright, wrote L'Amfiparnassio (performed in Modena, 1594 and published in Venice, 1597), which contained a perspectival scene reprinted by Stein (1969, 35, 50).

Vecchietta, Lorenzo di Pietro detto il (c.1410-1480)

(Di Pietro, Lorenzo; Il Vecchietta; Lorenzo di Pietro detto il Vecchietta)

Il Vecchietta and Paolo Schiavo finished a Life of Saint John the Baptist and a Life of Saint Lawrence started by Masolino (Castiglion D'Olona, 1435 ff.). After his return Vecchietta painted the Dream of the Mother of the Blessed Sorore (Siena, Spedale di Santa Maria della Scala, Pelligrinaio, c.1440) where Domenico di Bartolo did the majority of the frescoes. This work was discussed by Torriti (1987). Vecchietta also did the Life of Saint Anthony of Padua (Siena, San Giovanni); Stories from the Old Testament (Siena, Chiesa dell'Ospedale,1446-1449) and Articles of the Creed (Siena, Battistero, 1450-1462).

Vechta, Konrad von (fl. c.1445?)

(Von Vechta, Konrad)

Konrad von Vechta was a practitioner of proto-perspective. Panofsky (1927,n.52) suggested he might be identical with the Master of Heiligenthal who painted Saint Andrew Baptising (Luneburg: Nikolaikirche, c.1445).

Velazquez, Diego (1599-1660)

Velazquez was an important practitioner of perspective best known for Las Meninas (Madrid, Prado).

Camon Aznar (1960, 1960) and Chueca-Goitia (1960) examined his concept of space.

Veneziano, Paolo (1333-1362)

Paolo Veneziano was a practitioner of proto-perspective.

Ventura, Master (fl. 1470)

(Maestro Ventura)

Master Ventura was a master of marquetry mentioned by Benedetto Dei (1470, 90r) and discussed briefly by Uzielli (1894,207).

Verese

Verese, mentioned by Vasari (III,85), was identified as Jan Cornelis Vermeyen by Hinds (1927).

Vergelli, Tiburzio (155-1610)

(Verzelli, Tiburzio)

Tiburzio Verzelli was discussed by Lanzi (1795-1796,572-575).

Vermeer, Jan (1632-1675)

Jan Vermeer was an important practitioner of perspective whose work has raised considerable controversy concerning his possible use of instruments particularly the camera obscura.

Obreen (1882) provided basic biographical material. White (1957,276-277) mentioned his work in passing. Seymour (1964) argued that he had relied on the camera obscura in making his paintings. His article prompted Schwarz (1966) to list various drawing instruments some quite unconnected with Vermeer. Troger (1965) made rough reconstructions of the perspectival lines in six of Vermeer's paintings. Wheelock, in a significant dissertation (1973, published 1977) re-assessed the evidence for his use of camera obscuras on the basis of using an actual seventeenth century instrument.

Veronese, Paolo (c.1528-1588)

(Paulino)

Veronese was important in the development of illusionistic wall and ceiling painting, quadratura and trompe l'oeil (e.g. Maser, Villa Barbaro, c.1560; Murano, Palazzo Trevisan, 1575).

Mentioned by Vasari (III,283), he was discussed briefly by Kellermann (1924), Knall-Brskovsky (1984,43) and Milman (1986,39). Marinelli (1974) discussed the ideological space of Veronese. Zorzi (1977,296) noted that his Last Suppers (Venice, Accademia; Milan, Brera; Paris, Louvre) reflected the theatrical taste of the time.

Verrocchio, Andrea (c.1435-1488)

Andrea Verrocchio, a Florentine practitioner in whose workshop Leonardo da Vinci was an apprentice, was discussed by Vasari (II,95,125).

Verrio, Antonio (1639-1707)

Antonio Verrio, a painter of illusionistic walls and trompe l'oeil (Burghley House, Heaven Room, Olympian Gods, 1695-1696) was mentioned by Dars (1979, 29).

Vigarani, Carlo (c.1623-1713)

(Vigarini, C.; Vigarany, C.)

Carlo, the son of Gaspare Vigarini, active in scenography as director of stage designs, who worked with Lully at the Opéra in Paris (1660-1680), and made a maquette for the prologue of Isis (1677), was mentioned by Povoledo (1975,1597) and Schnapper (1982, fig. 44).

Vigarini, Gaspare (1586-1683)

Gaspare Vigarini, who was active in scenography as J. Torelli's successor as director of stage designs at the Opéra in Paris, was mentioned by Povoledo (1975,1597).

Virgo inter Virgines, Master of the (fl. 1450-1475)

(Master of the Virgo inter Virgines)

The Master of the Virgo inter Virgines was a practitioner of proto-perspective best known for his Virgo inter Virgines (Amsterdam, Rijksmuseum).

Viterbo, Lorenzo da (c. 1437-1476)

Paolucci (1966) cited Lorenzo da Viterbo's Annunciation (Annunciazione, Tagliacozzo, Palazzo Orsini).

Vittone, Bernardo (1705-1770)

B. Vittone, a painter of vault decorations and quadratura (Chieri, San Bernardino, 1740-1744, and Riva di Chieri in Piedmont, Chiesa della Assunta, 1766-1767), was mentioned by Milman (1986,60-61).

Vivarini, Alvise (living 1457-d.1503/1505)

Vivarini's perspectival practice was mentioned by Vasari (II,48). Paolucci (1966) cited his Madonna and Saints (Madonna e Santi, Venice, Galleria dell'Accademia, 1480).

Vivarini, Antonio (c.1420-1484)

Antonio Vivarini worked with Giovanni d'Alemagna, Niccolo Pizzolo and Mantegna (Padua, Eremitani, Cappella Ovetari) and painted a polyptych with the Life of Saint Peter Martyr ( Berlin, Dahlem, c.1450-1460).

Vliet, Hendrick Cornelisz Van (c.1611/1612-1675)

(Cornelisz Van Vliet, Henrik; Van Vliet, Henrik Cornelisz)

Hendrick Cornelisz Van Vliet, who produced a Sketchbook (Schetsboek, now Rotterdam, Museum Boymans van Beuningen, begun before 1671?), was a painter of church interiors (e.g. Innenansicht einer Kirche, Berlin, Gemäldegalerie, Kat. Nr. 830), mentioned by Harnest (1971,101) and cited by Giltaij (1991).

Vos, Jan ()

Jan Vos, active in scenography, who introduced Italian stage design in Amsterdam (Stadsschouwburg, 1665), was mentioned by Povoledo (1975,1597).

Vosmaer, Daniel (1622-c.1666?)

Daniel Vosmaer was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Vrankx, Sebastian (1573-1647)

Vrankx was a painter of architectural views.

Ballegeer (1967) examined his work in relation to Vredeman de Vries.

Vuastele

Vuastele, one of the practitioners cited by Pélerin (1521), was identified as Hans Wechtelin by Brion Guerry (1962,441-442).

Vucht, Johannes van (c.1603-1637)

Van Vucht, Johannes)

Johannes van Vucht, was a painter of church interiors, some of which were cited in the catalogue by Giltaij (1991).

Wechtelin, Hans (fl.1502-1526)

Hans Wechtelin was a practitioner of perspective mentioned by Harnest (1971,34).

Wauquelin, Jean ()

Jean Wauquelin, whose Chroniques de Hainaut (Brussels, Bibliothèque Royale, Ms. 9242) contained a scene Philip III, the Good and his Court (fol. 1) attributed to Rogier van der Weyden, was mentioned by Ragghianti (1977, 462) who noted that the third figure from the left is the Chancellor Nicholas Rolin, also depicted by Van Eyck.

Weyden, Rogier Van Der (c.1399/1400-1464)

(Van der Weyden, Rogier)

Rogier Van Der Weyden was an important practitioner of proto-perspective. Harnest (1971,28,31,42-43,69,106) discussed his work. Ragghianti (1977, 484,523) mentioned his Exhumation of Saint Hubert (London, National Gallery, c.1437-1440) and Christ Appearing to the Virgin (London, National Gallery, c.1450-1475). His Marienaltar or Miraflores Altar and Johannesaltar (Berlin, Gemäldegalerie, Kat. Nr. 534A, 534B ) were important examples of proto-perspective using portals in the manner of framing windows; while his Middelburger Altar (Berlin, Gemäldegalerie, Kat. Nr. 535 ) contained a striking early example of a townscape.

Witte, Emanuel De (c. 1616-1691/1692)

(De Witte, Emanuel)

Emanuel De Witte was a practitioner of perspective particularly renowned for his church interiors (e.g. Innenansicht der Nieuwe Kerk te Amsterdam, Berlin, Gemäldegalerie, Kat. Nr. 898A). Harnest (1971,101) mentioned his work, as did the catalogue by Giltaij (1991). Wheelock (1975-1976) compared the architectural paintings of Houckgeest and De Witte.

Witz, Konrad (c.1400-1444/1446)

Konrad Witz, one of the important early practitioners of proto-perspective, worthy of note because he employed curvilinear methods, was studied by Schmidt (1962).

Zambelli, Damiano (before 1490-1549)

(Damiano da Bergamo, Fra; Fra Damiano da Bergamo; Zabello, Damiano)

Fra Damiano, a Dominican friar in Bologna, used a series of drawings by Vignola as the basis for his remarkable marquetry work (Bologna, San Domenico, Choir), as noted by Vasari (IV,94) and which have been published by Alce (1969).

Zeitblom, Bartholomäus (after 1450-c.1520)

Bartholomäus Zeitblom was a practitioner of proto-perspective mentioned by Harnest (1971,103).

Zuccaro, Federigo (1540-1609) (1542-1609)

Federigo, the younger brother of Taddeo Zuccaro, was a painter of vault decorations and quadratura (Rome, Palazzo Zuccaro, Sala di Ganymede, c.1602). Also active as a scenographer, he painted the screen for the play Cofanaria by Francesco d'Ambra, (1565) as mentioned by Zorzi (1977, 101-102, 206-207).

Zuccaro, Taddeo (1529-1566)

Taddeo, the elder brother of Federigo Zuccaro, was a painter of vault decorations and quadratura (Caprarola, Palazzo Farnese with Vignola; Rome, Villa Giulia).

Zucchi, Jacopo (c.1541-1589/1590)

Jacopo Zucchi, a practitioner of illusionistic wall painting (Florence, Palazzo Vecchio, Sala delle Elemente), was mentioned by Kellermann (1924).

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Last Update: August 3, 1998