Dr. Kim H. Veltman
Appendix 4-Renaissance Theorists
Abacco, Antonio D' (c.1552-1558)
(Labacco, Antonio)
Antonio D'Abacco was the author of a book of Roman ruins, Libro appartenente all'architettura (1552).
Adhémar, Joseph-Alphonse (1797-1862)
Adhémar was the author of several books on perspective including a Treatise on linear perspective (Traité de perspective linéaire) which went through four editions.
Marcussen (1980) studied his contribution briefly.
Agostino (di Bramantino) Milanese (fl. c.1500?-c.1525?)
First mentioned by Lomazzo (1585, 681,270), Von Schlosser (1924, 127) considered this painter synonymous with Agostino delle Prospettive and proposed him as Dürer's teacher. This identification between the two Agostinos was denied by Thieme-Becker (I,131) and reconsidered by Brion-Guerry (1962, 68).
Agostino delle Prospettive (fl. 1525)
First mentioned by Masini (1650,I,612) and then by Lanci (1789), Von Schlosser (1924, 127) considered this author who flourished in Bologna identical with Agostino Milanese. Brion Guerry (1962, 58) suggested that these were two different individuals.
Agostino Veneziano (c. 1490-c.1540)
(De Musi, Agostino; Musi, Agostino de)
Nagler (I,591) gave his monogram as A.V. and described a number of sheets showing ancient monuments, statues, bas reliefs, vases etc. Similar sheets appear in an anonymous omnibus volume of c.1540 , now Herzog August Bibliothek, Wolfenbüttel (call no. 37.2.1 Geom. 2o (4)) which also has drawings relating to Androuet Du Cerceau's Aliquot templorum antiquo more, his Optices quam perspectivam nominant and Cock's writings. See also the note to Sebastiano Serlio.
Alberti, Leon Battista (1404-1472)
(Albertus noster, Baptistae, Leo noster)
Alberti is best known for the first extant treatise on perspective, On Painting (De pictura, 1434), translated into Italian as Della pittura (1435). Seven Latin and two Italian manuscripts are known. Alberti also wrote Elementa picturae of which there are six extant manuscripts. Some authors (e.g. Bonucci) have attributed to Alberti the manuscript Della prospettiva (Florence, Biblioteca Riccardiana, n. 2110). Vagnetti (1979) mentioned a lost Trattato di prospettiva.
Some of the literature has been biographical and has only touched on Alberti's technical writings: Loria (1895), Michel (1930, 162-163, 176-179), Galantic (1969). Gilbert (1943-1945) considered Alberti's theoretical stance and explored its models in Antiquity. Borsi (1975) provided a useful bibliography. Many recent articles have been general and will not be mentioned here.
Much of the literature on Alberti's perspective relates to whether he used the legitimate construction or the distance point construction. Muratori's (1751) edition of an anonymous Life of L. B. Alberti, which was also one of the first serious attempts at a biography, mentioned Alberti's experiments with perspective boxes. Janitschek (1877, 231-232) in his edition of On Painting claimed that Alberti had known the distance point. Wiener (1884, I, 12) in his Textbook of descriptive geometry accepted this. Staigmüller in an article, Did Leon Battista Alberti know the distance point?, (1891) countered that Alberti's construction was based on direct experience rather than on mathematical principles. Winterberg (1895) in an article on Alberti's technical writings argued that there was no essential difference between Alberti's method and the modern distance point construction. Kern (1915) followed the view of Janitschek and Wiener. Panofsky (1914-1915) re-examined the evidence and established the view that Alberti had known the legitimate construction rather than the distance point construction. Ivins (1938) returned to the description of perspective boxes in the anonymous Life to suggest that Alberti had used such a model in arriving at the legitimate construction. Grayson (1964), drawing attention to five words present only in some of the Latin manuscripts reconsidered the legitimate construction to claim that one merely needed to join lines between the frontal and lateral views. Parronchi (1964), citing the evidence of a Lucca manuscript of Alberti, claimed that the legitimate and distance point constructions were in fact the same. Edgerton (1966) reviewed the claims of Grayson and Parronchi, siding with the former and suggesting that Alberti's perspective was a synthesis of optical geometry and older workshop practice. Wakayama (1972) reviewed all three of these interpretations, relating them to fifteenth century painting practice and Filarete's method a theme which she pursued the following year (1973). Arrighi (1972) gave a more thorough description of the contents of the Lucca manuscript, to which Parronchi (1976) returned claiming that it effectively used a method of raising a ground plan (levare dalla pianta). Hence four interpretations of Alberti's construction have emerged: that it depended on joining lines from a frontal and lateral view (Grayson); that the pole of the side view was flush with the side of the frontal view (Panofsky); that the central pole of the frontal view was also basic for the side view (Parronchi); that it was essentially a ground plan and elevation method (Parronchi). Vagnetti (1968) examined Alberti's Description of the city of Rome and (1972) made an important study of his Mathematical games. Gambuti (1972) made a technical study Alberti's Elements of painting.
In addition to these technical discussions other articles have broached more general questions. Von Lorck (1967) related Alberti's perspective to the new world view introduced by Copernicus. Edgerton (1969) drew attention to the importance of On painting for colour as well as perspective. Simonelli (1971) explored the chronological relationship of Alberti's treatises on art. Vagnetti (1973) examined the meaning of Alberti's term concinnitas. Bek (1976) related Alberti's Ciceronianism to Brunelleschi's approach to perspective. Damisch (1980) related Alberti's theories to philosophy.
Aleotti, Giovanni Battista (1546-1636)
(L'Argenta)
Vagnetti (1979, 341) referred to Aleotti as the author of a treatise on theatrical perspective which was lost after the second world war. It is now in the Honeyman Collection. Aleotti designed the Teatro Farnese in Parma (1618-1628) and drew a Pianta del teatro Farnese di Parma, which was reproduced in P. Landriani and G. Ferrario, Storia e descrizione de'principali teatri antichi e moderni (Milan, 1830) and listed in Mancini et al. (1975, 77). An article by Padovani (1933) referred to earlier literature and focussed on his architectural activities including the Teatro Farnese.
Amman, Jobst (1539-1591)
Jobst Amman was an important engraver of perspectival objects and instruments. One engraving ascribed to him shows an artist with a perspective instrument standing on a hill drawing a town below. Amman produced a portrait of the mathematician, Johann Neudörffer, der Aeltere (cf. Becker, n.117) and of Wenzel Jamnitzer using a perspectival window (cf. Becker, n. 122, c.1568).
Becker's (1961) catalogue described his 50 engravings for Jamnitzer's Perspective (Perspectiva, 1568). The catalogue on Wenzel Jamnitzer (1985,480) drew attention to 19 original drawings for these (Berlin, Kupferstichkabinett,Inv.Nr. 2632-2650).
Androuet Du Cerceau, Jacques (1510-1584)
(Androvet; Androuet-Ducerceau; Andreotti dal Cerchio, Cercea, Cerceau, Du Cerceau)
Androuet Du Cerceau, usually cited for his Perspective (1576) and sometimes for Le premier volume des plus excellents bastiments de la France (1576 etc.) published a series of books of engravings on ancient ruins.
Mentioned in passing in Danti's preface to the edition of Vignola (1583), considered briefly by Comolli (1791, 156-157), Poudra (1864,173-174), his Italian activities were studied by Geymüller (1885), who also wrote the first and only major study (1887) which although dated remains of fundamental value. More recently, Fiore (1976-1977) has drawn atention to drawings in Codex Barberinus Latinus 4398 in the Vatican related to those of Androuet du Cerceau. Vagnetti (1979, 339-340) mentioned him briefly.
Apollonius of Perga (c.250 B.C.-190 B.C.)
Apollonius was the author of a Treatise on Conic Sections, important to French perspective theorists such as Aleaume and Migon in the seventeenth century, edited by Heiberg which became the basis for a standard edition by Heath ().
Bachot, Amboise (fl.1598)
Amboise Bachot was the author of Le gouvernail lequel conduira le curieux de geometrie en perspective dedans l'architecture des fortifications (1598) which has never been studied in the secondary literature.
Bacon, Roger (1214-1294)
Cicognara (1821,150) included Roger Bacon's work on optics in his bibliography of perspective noting however that this was "a work uniquely relative to the sciences and not applied to the arts".
Barbaro, Daniele (1513-1570)
Barbaro, who was the Patriarch of Aquilea, is best known for his La pratica della perspettiva (1568) of which there are extant two variant manuscripts, as well as a work Scenographia (Venice, Marciana), and an edition of Vitruvius (Venice, 1556) important as a source for illustrations of the Vitruvian stage which had a direct impact on the Teatro Olimpico, at Vicenza.
There was debate over the date of the first edition of La pratica. Poudra (1864,161) claimed 1559; Laven (1957,211) claimed 1567. RLIN claims 1569. The earliest extant copy is 1568. Cited by Danti (1583), Lomazzo (1585,275), Bayle (1697) and Poleni (1739), Barbaro was discussed by Comolli (1791, 144-151), Poudra (1864,161-171), Nielsen (1898, 24-28), Pittarelli (190), Amodeo (1932, 124-132) and Vagnetti (1979,334-335). The only serious study of his work was an unpublished dissertation by Laven (1957).
Barozzi da Vignola, Giacomo (1507-1573)
(Barocci da Vignola; Barozio; Vignola)
Spinelli (1908, 60) suggested that Vignola wrote his Two Rules of Practical Perspective (Le due regole della prospettiva pratica) around 1527. This is unlikely for three reasons. First it is too complex a work for a twenty year old. Second, it incorporates material from the Roman ruins which Barozzi did not study until 1537, as Danti (1583) in his life of Barozzi at the beginning of his edition and commentary on the work noted, Third, in that same work Danti intimated that Barozzi did not write his treatise until after 1550. Kitao (1962,173) noted that Barozzi was revising the work until shortly before his death.
In terms of perspectival practice Barozzi, who was a student of Primaticcio, painted illusionistic walls (Caprarola, Sala di Giove etc., c.1560-1561; Rome, Cancelleria) mentioned by Knall-Brskovsky (1984,36-37).
Mentioned by Vasari (1568, IV,94-95), Mariette (1775,1198) and Comolli (1791,153-156, Barozzi was first studied seriously by Tramontini (1825). Poudra (1864,175-183) and Nielsen (1898, 38-43) discussed him briefly. Willich (1906,166-168) assessed Barozzi's treatise negatively. Sorbelli (1908) added biographical details. Spinelli (1908) made a first serious survey of all editions of the Two rules. Olschki (1919, II, 246-247) and Wieleitner (1920) mentioned him. Loukomski (1927) wrote what remains a standard monograph of Vignola, focussing on his architectural work. Studies by Schöne (1933), Lotz (1939), Willich (1940), and Walcher-Cassotti (1953, 1960) were more general. Goldsmith Philips (1941) examined an intarsia panel by Fra Damiano based on Vignola. Kitao (1960) in an important article, analysed Vignola's treatment of the two methods and argued that his codification thereof distilled "into a canon the predilection of his culture", namely to favour one point perspective rather than two point methods such as the bifocal construction. Arrighi (1963) and Vagnetti (1979, 321-323) mentioned Vignola's work briefly. It is worth noting that no one thus far has examined thoroughly Barozzi's treatise in terms of its rich historical notes concerning the early history of perspective although this problem has been touched upon by Veltman (1975).
Barozzi, Francesco (1537-1604)
A son of Giacomo, Francesco Barozzi developed prototypes of the sector and related mathematical instruments. Boncompagni (1884) remains a basic study of his life and works.
Bartoli, Cosimo (c.1503-c.1572)
Bartoli is known as author of a treatise Del modo di misurar le distantie...le prospettive (1564) and for a translation of Alberti De pictura into Italian. Vagnetti (1970) remains the one study of this work, although Vagnetti (1979,331) mentioned it in passing.
Bassi, Martino (1542-1591)
Bassi was involved in a controversy concerning the perspective of bas reliefs on the walls of the cathedral at Milan which he discussed in his book Dispareri in materia d'architettura et perspectiva (1572). Aspects thereof were discussed by Comolli (1791, 151-153), Panofksy (1927) and Bora (1980) and in passing by Vagnetti (1979,339).
Beham, Hans Sebald (1500-1550)
(Behaim; Peum, Hisibil)
Beham was the author of a book on proportion, Dieses Buchlein zeyget an und lernet ein Mass oder Proportion (1528), which related to perspective. Although cited by Lomazzo (1584,101), it has never been studied seriously.
Bellini, Jacopo (c.1400-1470/1471)
Bellini was the author of two Sketchbooks (London, British Museum; Paris, Louvre, Inv. RF 1475-1556) which were published by Ricci (1908), Golubew (1912) and more recently by Degenhart and Schmitt (1984). They have been studied by Röthlisberger (1956, 1956-1959), Edgerton (1966), Mariani Canova (1972). Joost-Gaugier (1974, 1975, 1980) has focussed on the tuscanization of Bellini.
Benedetti, Giovanni Battista (1530-1590)
Benedetti was the author of "De rationibus operationum perspectivae" which was published in his Diversarum Mathematicarum et Physicarum Liber (1585). This book is important because it was the first reference to Alberti's method as being the legitimate one and established unequivocally that this was a practical method using a window. It was studied briefly by Wieleitner (1918), mentioned by Vagnetti (1979, 340-341), considered in an appendix by Veltman (1986) and the subject of a study by Field (1985) who related his work to the mathematical tradition leading to Desargues.
Bertani, Giovanni Battista (fl.c.1570)
Bertani was the author of a letter to Bassi on problems of perspective which was published in that author's Dispareri (1572).
Blum, Hans (fl. 1550-1562)
(Hanns von Lohr)
Blum published Quinque columnarum exacta descriptio (1550) which went through some sixteen editions in the next century and a half; as well as Contrafacturen etlicher alten schönen Gebäuw (1550) and Ein kunstrych Buch von allerley antiquiteten (c.1560). Mentioned by Passavant (III,449) and Geymüller (1887,304), the only serious study on Blum was a dissertation by May (1910) which remains the most thorough record of various editions.
Boissard, Jean Jacques (1528-1602)
Boissard was the author of a book on Roman ruins Romanae urbis topographia et antiquitates (1603), which drew upon the earlier work of Lafréry (1575).
Bosse, Abraham (1602-1676)
Bosse, a friend of Poussin, became the first professor of perspective at the Académie royale des arts in Paris. A follower of Desargues, Bosse became a spokesman and promulgator of his ideas, leading to debates with and his eventual explusion from the Academy as studied by Fontaine (1914), in detail by Blum (1924), more recently by Kaufmann (1960) and Van Helsdingen () and summarized by Baltrusaitis (1957 etc.). Bouvy (1924) examined links between art and science in his work.
Bottrigaro, Ercole (1531-1612)
Ercole Bottrigaro illustrated an unedited manuscipt La Mascera overo Della Fabbrica de'Teatri e dello apparato delle scene tragisatirocomico (Bologna, Civico Museo Bibliogafico Musicale) with drawings of scenography mentioned by Mancini et al. (1975,39-40).
Bottrigaro, H. (fl. 1572)
Bottrigaro translated Ptolemy's Planisphere from Latin into Italian (1572).
Bramante, Donato (1444-1514)
(Bramante da Urbino, Donato da Castel Durante)
Bramante was mentioned by Vasari (II, 184,187; IV,309); Lomazzo (1585, 270; 1590,150) and first discussed by Comolli (1791,210-211) who attributed to him a tome of 60 drawings of the baths of Rome and referred to Sieur d'Argenville with respect to a published work on rules of architecture and perspective. There is a book in the Vatican attributed to Bramante entitled Prospettive Diverse (1647). A perspectival drawing (Florence, Uffizi) connected with his Tempietto was discussed by Abels (1981, Abb.26). Bramante's stage designs were discussed by Stein (1969).
Serious literature on Bramante began in the twentieth century with Ricci (1902), Beltrame (1902), Frey (1915) and Argan (1934). Ressiori (1938) explored connections between Brunelleschi in Florence and Bramante in Milan. More general articles by Richter (1943), Baroni (1944), and Chastel (1950) followed. Rotondi (1951) considered his painting practice as did Iniguez (1953). A basic study on Bramantino by Suida (1953) reviewed by Longhi (1955) raised many questions concerning Bramante. There were articles by Förster (1956), Ragghianti-Collobi (1961), Bruschi (1969) and Woff-Metternich (1975). Murray (1962) focussed on printings and engravings. De Angelis D'Ossat (1966) examined his activities in Rome. Mulazzani, Dalai-Emiliani, Matalon et al. (1977) examined his Men of arms. Robbiani (1980) reconstructed his fictive choir in Santa Maria presso San Satiro.
Bramantino (1455-1536) (c.1465-c.1530)
(Bramantino Milanese; Bramiantino; Suardi, Bartolomeo)
Bramantino was the author of Regole di prospettive e misure delle antichità di Lombardia, cited by Vasari (III,323, IV,315), Lomazzo (1585, 271-275; 1590,150), Poudra (1864) and Vagnetti (1979, 315). The earliest study was by Comolli (1791,209-218). Mongeri (1875) produced a basic edition of the manuscript, Ruins of Rome, (Milan, Ambrosian Library, S. 157, Sup.) and an article (1880) followed by Fiocco (1914), Pica (1939), Gengaro (1854,1955) and Longhi (1955). The main studies remain by Suida (1906, 1907, 1953).
Brunn, Lucas (fl. 1590-1640)
(Brunnen, Bruner)
Brunn, author of Praxis perspectivae (1615), which Vagnetti (1979,343) claimed was first published in 1595, has never been studied seriously.
Buontalenti detto Bernardo dalle Girandole, Bernardo (c.1536-1608)
(Bernardo dell Girandole)
Buontalenti was the author of a manuscript treatise now in the Bibliothèque Nationale in Paris. He made a perspectival study for a stage (Pensiero per un proscenio, Florence, Gabinetto Disegni e Stampe degli Uffizi, n.2306A, c.1575), discussed by Zorzi (1977, fig. 75). As a practitioner, he was active in garden design, architecture and especially in stage scenery, notably the Florentine Intermedi (1589) in the comedy La Pellegrina by G. Bargagli (now London, Victoria and Albert Museum; Florence, Uffizi; and Paris, Louvre), listed by Mancini et al. (1975, 46), the designs of which were engraved by Orazio Scarabelli as discussed by Stein (1969) and Fabbri, Zorzi, Tofani (1975, 106-115). He also drew a Perspective of a City (Prospettiva urbana now Florence, Uffizi, Gabinetto Nazionale Disegni e Stampe) which may been a scene for La Zingara by G. A. Giancarli or for La Pazzia di Isabella in connection with the festivities of 1589 listed by Mancini et al. (1975,84).
Butinone, Bernardino (c.1476-c.1507)
(Buttinone)
On the basis of Lomazzo (1585,271;1590,150), Vagnetti (1979,315) offered Trattato di prospettiva as the conjectural title of a now lost work. Butinone worked with Zenale on frescoes of the Life of Saint Ambrose (Milan, San Pietro in Gessate, Cappella Grifi, c.1490-1493).
His work was mentioned by Lomazzo (1585, 271; 1590,150). In a major catalogue on Zenale, Dalai Emiliani in collaboration with Fronza (1982) reconstructed the perspectival lines of Butinone's Madonna on a throne with Child (Madonna in trono con il Bambino e angeli) and his Madonna on a throne with Child (Madonna in trono con il Bambino, angeli e santi Giovanni Battista e Giustina).
Campi, Bernardino (1522-1591)
Campi was the author of "Parer sopra la pittura" which was published in Alessandro Lamo's Discorso...intorno alla scultura et pittura (1584). Popham (1958,274) suggested Campi as possible author of the anonymous Codex Huygens.
Caporali, Giovanni Battista (c.1496-1560)
(Caporali, Benedetto, Bitti)
Caporali (1536), the editor of an Italian edition of Vitruvius based largely on that of Cesariano (1521), was mentioned by Vasari (II,135, 148-149).
Cardenato, M. Orazio ()
Although generally cited as the author of a work on friendship, Fiorillo (1803,318) referred to Cardenato as a commentator on Barozzi's Le due regole.
Cartaro, Mario (fl.1571-1586) (fl.c.1560-1588)
(Kartarus, Marius)
Cartaro, an engraver from Viterbo who worked in Rome and wrote a book of Roman ruins entitled Prospettive diverse (1578), has never been studied seriously in the literature. One of the drawings in this book, a Stage setting (Rome, Collezione teatrale della Societa Autori ed Editori), was mentioned by Stein (1969, 50).
Cataneo, Pietro ( -c.1569)
Cataneo, who discussed perspective in book eight of his L'architettura (1557), was cited by Danti (1583). His manuscript (Florence, Uffizi, 3275-3381, 1533) was studied by Berti (1925) and mentioned by Vagnetti (1979,332-333).
Cellini, Benvenuto (1500-1571)
Primarily a sculptor, Cellini is famous for his autobiography (Discorsi, ed. Milanesi, 226) in which he reported that he bought a manuscript copy of a book on perspective by Leonardo da Vinci.
Cennini, Cennino (fl.c. 1390-1405)
Cennino Cennini was the author of Il Libro d'Arte probably compiled in the 1390's. This contained a chapter (LXXXVII, Come si dé colorire i casamenti, in fresco o in secco) in which he described a proto-perspectival method.
Cesariano, Cesare di Lorenzo (1483-1543)
(Cesare da Reggio)
Cesariano was the editor of the famous Como edition (1521) of Vitruvius which served as a starting point for later editions by Caporali (1536) and Ryff (1547).
Choquet, Charles (1798-)
Choquet was the author of an elementary course on drawing (1823) and a Treatise on linear perspective (Traité de perspective linéaire, 1823).
Marcussen (1980) studied his contribution briefly.
Ciaccheri, Antonio di Manetto (1405-1460)
(Ciacheri, Antonio; Ciandi, Antonio; Ciando, Antonio; Manetti, Antonio, detto Cacheri)
According to Gallet (1956,47-50) the architect, Antonio Manetti guided Uccello in his perspectival studies.
Cigoli, Lodovico (1559-1613)
(Cardi da Cigoli, Lodovico)
Cigoli was the author of a manuscript on Practical perspective (Florence, Uffizi, A2660, c.1612) mentioned by Riccardi (1889) and Vagnetti (1979, 379) and discussed by Kemp (1990, 177-180). Important biographical material was considered in a dissertation by Busse (1911). Fasolo (1957) surveyed a series of architectural Drawings (Disegni vari, Florence, Uffizi, cartella n.73 with a demonstration entitled Cigoli: numbers 1647, 1771, 1906, 1907, 2584-2614, 2834, 2835, 2861, 2870, 2894, 2911, 2912.
Clavius, Christopherus (1538-1612)
(Clau, Christoph)
Clavius was head of the Collegium Romanum, teaching headquarters of the Jesuits and author of treatise on the astrolabe (1593) which was cited by Murhard (1805,229) as a work on perspective.
Cleef, Hendrik III van (1525-1589)
(Cliven, Clevius)
Cleef was the author of Regionum, rurium, fundorumque, varii atque amoeni prospectus (1587) which contained various perspectival ruins in landscapes.
Cloquet, Jean Baptiste Antoine (fl.1777-1828)
Cloquet was the author of a New elementary treatise of perspective (Nouveau traité élémentaire perspective, 1823).
Marcussen (1980) studied his contribution briefly.
Cock, Hieronymus (c.1510-1570)
(Kock)
Cock was an important printmaker and publisher in Antwerp. He published much of Vredeman de Vries' early work; was himself author of Praecipua aliquot Romanae antiquitatibus ruinarum monimenta vivis prospectibus...(1551), which was the basis of Pittoni (1561) and Scamozzi (1582) and was also the author of Operum antiquorum Romanorum (1562) which have never been seriously studied.
Mentioned by Vasari (III,85), a basic list of his publications was provided in a significant dissertation by Riggs (1971). Veltman (1979) touched on links between perspective, ornament and emblems in his work.
Coecke van Aelst, Pieter (1502-1550)
(Cock, Coecke, Coock, Kock, Koeck, Pierre van Aelst)
Coecke, mentioned by Vasari (IV,253) and Murhard (1805,226), translated into Dutch Serlio's Regole generali (i.e. Bk IV of his Architecture, 1539) and Serlio's other books on architecture. Murr's (1770,491,494) reference to a Flemish version of De pictura et perspectiva was presumably a reference to Book II of Serlio's Architecture.
Commandino, Federico (1509-1575)
Commandino, primarily a mathematician active at the court of Urbino, was author of an important edition of the Planisphere of Ptolemy (1558), discussed (1978, 1980) and edited by Sinisgalli (1992); wrote unedited works still at Urbino, taught Guidobaldo del Monte, was cited by Danti (1583), and discussed by Poudra (1864,153-159), Thomson (1978) and Vagnetti (1979,330). Sinisgalli (1980) studied his contribution.
Cousin, Jean (c.1490-c.1560)
(Cosin, Cusin, Cugini)
Cousin was the author of a Livre de perspective (1560). Cited by Vasari (III,82), Danti (1583), Poudra (1864,172) and Vagnetti (1979,330-331) he was the subject of one important article by Roy (1909) and studies by Appell (1909) and Ivins (1926).
Cousin, Jean. Le jeune (1500/1522-1594)
There remains considerable debate when the Livre de pourtraicture (1595) was first published (cf.1571,1584,1589,1593), whether this was the work of Cousin senior, who announced a second book in the preface to the first, and whether Cousin junior even existed. Cited by Cicognara (1821,5) and Vagnetti (1979,337) this treatise has never been seriously studied.
Greco, Michele (1539-c.1604?)
(Crecchi, M.; Lucchese; Lucchesi)
Geymüller (1887,300-301) described Crecchi as author of Prospectiva et antichità di Roma and identified him as a source for Androuet Du Cerceau's Vues d'optique (1551).
Custos, Dominicus (1560-1612)
Custos was the author of Vedute prospettiche e teatrali (n.d.).
Danaeus, Lambertus (fl. 15__?)
Danaeus was the author of an unpublished manuscript on perspective (London, British Library, Sloane Ms. 536) which has never been studied.
Dee, John (1527-1608)
Dee was the author of a manuscript entitled Elegans et utilis libellus (London, British Library, Cotton Vitellius C.VII) which appears to be a Latin adaptation of Ein schön künstlich Büchlein (1531) ascribed to Johann II von Pfalz-Simmeren and Rodler.
Desargues, Girard (1593-1662)
Desargues, active in the fields of stone-cutting and sundials, played an important rule in describing perspective in mathematical terms during the 1630's. During the 1640's and 1650's Bosse became his spokesman and defendent first against the work of Dubreuil and later against the Academy (Lebrun, Huret etc.).
Biographical discussions of his contribution began with Baillet (1691), Colobnia (1730), Pernetty (1757). Interest in mathematical work emerged with Chasles (1839) and began in earnest with Poudra who wrote on Desargues' theorem (1861-1864), produced a first edition of his works (1864) and also wrote a standard early history of perspective. Le Paige (1888) discussed a Dutch translation of Desargues' work by Bara (1664). Eneström examined the relation between Girard Desargues and the initials D.A.L.G. Taton (1951) published a list of new documents concerning Desargues and produced a new edition of his works (1951, 1981). Field and Gray (1987) published an English translation of The geometrical work.
Dietterlin, Wendel (1550-1599)
(Dieterlin, Vendelin)
Dietterlin was the author of Architectura (1593-1594) mentioned by Pellegrino (1704,4401) and studied in a dissertation by Pirr (1940).
Domenichi, Lodovico (1515-1564)
Domenichi produced an Italian translation (1547) of Alberti's De pictura.
Dosio, Giovanni Antinio (1533-1609)
Dosio was the author of Urbis romae edificiorum illustriumque supersunt reliquiae (1569) which was edited by Huelsen (1933).
Du Pérac, Etienne (1525-1604)
(DuPérac, Etiennne; Perac Etienne Du)
Du Pérac was the author of a book on Roman ruins, I vestigi dell'antichità di Roma (1575), which was copied by Sadeler without acknowledgment as Vestigi dell'antichità di Roma (1606). In 1587 Du Pérac went to Paris and became a teacher of landscape gardening.
Dürer, Albrecht (1471-1528)
(Durero, Duro)
Dürer is best known for two books Underweyssung der Messung (1525) and Hierinn sind begriffen vier Bücher von menschlicher Proportion (1528). There are two main extant manuscripts (Dresden, Sächische Landesbibliothek; London, British Library, Sloane Mss. 5228-5231 and 5218).
Cited by Pélerin (1521, 1r), Vasari (III,70,73), Danti (1583, preface), Lomazzo (1585, 253, 320, 101, 273) and Lambert (1839), Dürer was mentioned by Trost (1859), Poudra (1864, I, 136-140), Zahn (1866), and studied by Günther (1886) and Weiss (1888). Gerhardt (1877) had seen in Dürer a father of descriptive geometry. This led to a new emphasis on Dürer's mathematics in articles by Staigmüller (1891), Nielsen (1895) and Justi (1902); then a great rise Dürer studies during the early decades of the 20th century with articles by Weixlgärtner (1903), Pinder (1904), Klaiber (1906), Hünrath (1906), Klebs (1907), Amodeo (1908), Müller (1910), Henriques (1910) etc. and more importantly a series of dissertations on Dürer's perspective by Rapke (1902), Greene (1909), Panofsky (1914), and Schuritz (1919) which established conclusively that Dürer almost never used perspective in a technical sense. The decades that followed saw many further studies of which those by Bohatta (1928), Staigmüller (1938) and the monograph by Panofsky (1945) were important. Havelka (1962) related Dürer's perspective to mechanical projection methods. The geometric body in Dürer's Melancholia inspired four presumably independent studies: Wangart (1976), Schröder (1980), Harnest (1981) and Lynch (1982). There have been many other articles. For all this a systematic study of his perspectival drawings based on his manuscripts (London and Dresden) has yet to be made.
Eckersberg, Cristoffer Vilhelm (1783-1853)
Eckersberg wrote a treatise on perspective (1833,1841). He was also active as a Danish painter in the first half of the nineteenth century.
His work was studied by Marcussen (1983).
Euclid (late 4th -early 3rd c.B.C.)
(Euclides)
Euclid's Elements, frequently cited by authors of perspective treatises during the Renaissance. was important as a source for study of the regular solids, yet it was not usually listed as a treatise on perspective. Early bibliographies on perspective such as Murhard (1805,201), cited Euclid's Phaenomena. Cicognara (1821,154) cited Euclid's Optics, entitled La prospettiva in the edition of Danti (1573).
Falconetto (1458-1534)
(Giovannmaria of Verona)
Giovannmaria, the natural son of Stefano of Verona, was praised by Vasari (III,44-45) for his drawings of antiquities of Verona, Rome, the Campagna, Naples and the Duchy of Spoleto.
Feliciano da Verona, Felice ()
Feliciano, the author of the Hypnerotomachia Poliphili, famous for the use of space in its woodcuts was studied by Khomentovskaia (1936).
Figino, Ambrogio (1548/1550-1595/1608)
Ambrogio Figino was the author of a canon of proportions (cf Pedretti,1977,I,247-249), and owner of one of Leonardo's now lost manuscripts (cf. Pedretti,1977,II,394).
Figino, Girolamo (fl. c.1550?-1600?)
Girolamo Figino, a student of Francesco Melzi, and cited by Lomazzo (1585,336), was proposed as the possible author of the anonymous Codex Huygens by Pedretti (1977,I,70-75). Cf. Carlo Urbino.
Filarete (1400-1469)
(Averlino, Antonio; Averulino)
Filarete, the author of a Trattato di architettura, extant in eight manuscripts, was first published by von Oettingen (1890). Spencer (1965) produced an English edition. The standard edition is by Finoli and Grassi (1972).
Modern literature on Filarete began with von Oettingen (1890), Lazzaroni and Munoz (1908), and an article by Spencer (1956) on the dating of his treatise. Saalman (1959) offered concise notes about his perspectival methods in relation to architectural drawing and models. Tigler (1960) wrote a dissertation on Filarete's theories, which he pursued in a significant article (1963) and formed a context for his critical review (1967) of Spencer's edition. Parronchi (1965, 1968) explored Filarete's use of the legitimate construction in relation to Francesco di Giorgio Martini and Leonardo da Vinci. Wakayama (1973) reconstructed in detail the steps underlying Filarete's perspectival diagram. Spencer (1971) reported on two new documents relating to Filarete. Gambuti (1973) examined Filarete's treatise in the context of the artistic education of Galeazzo Maria Sforza. Veltman (1986) briefly examined Filarete's perspectival diagram in the context of fifteenth century theory.
Finé, Oronce (1494-1555)
Finé was professor of mathematics at the University of Paris and responsible for a pirate version of Pélerin's De artificiali perspectiva within the 1535 edition of Gregor Reisch's Margarita philosophica. Poudra (1864, 141-17) referred to Finé as if he were an independent author. Vagnetti (1979,311) attributed to him editions of 1512, 1515 and 1535.
Flötner, Peter (c.1490-1546)
(Flettner)
Nagler gave this Nürnberg engraver's mark as P.F. This appears on at least six plates in an omnibus volume of c.1540 now in the Herzog August Bibliothek (call no. 37.2.1 Geom. 2o (4)) which are of particular interest because they relate directly to plates also found in Androuet Du Cerceau and Cock. See also the note on Agostino Veneziano.
Fontana, Giovanni (c.1395?-1455)
Fontana, author of a Book of war instruments (Liber bellicorum instrumentorum, Munich, Bayerische Staatsbibliothek, Cod. Icon. 242) and Secrets from the thesaurus of experiments of the imagination of men (Secretum de thesauro experimentorum ymaginationis hominum, Paris, Bibliothèque Nationale, Cod. Lat. Nouv. Acq. 635), containing important descriptions of camera obscura principles applied to magic lanterns was edited by Battisti and Saccaro Battisti (1984). A note by Pompilius Azalus in his Liber de omnibus rebus naturalibus (1544, 74v), attributed to Fontana a now lost treatise which appears to have dealt with colour and disappearance of form perspective.
Foppa, Vincenzo (1427/1430-1515/1516)
(Vincenzio di Zoppa)
According to Lomazzo (1585,275; 1590,108,150) Foppa wrote a now lost treatise on perspective.
In terms of perspectival practice Foppa painted one of the first illusionistic ceilings (Milan, Sant'Eustorgio, Cappella Portinari, c.1462), mentioned by Kellermann, (1924), the painted angels of which have been related to the theatre machinery used for the feast of the Annunciation (Florence, San Felice in Piazza) and to the angels in Forli's ceiling (Loreto, Chiesa della Santa Casa, Cappella del Tesoro, c.1485). In the same church Foppa painted a Life of Saint Peter Martyr (1464-1468).
Mentioned by Lomazzo (1585,275,100,320; 1590, 108, 150,16) and Comolli (1791, 187-189), modern scholarship began with articles by Foulkes, Maiocchi (1909), Wittgens (1942,1950), Rotondi (1958) and in apssing by Vagnetti (1979,40). The first and only serious perspectival analyses of his work were by Dalai-Emiliani (1971, 19).
Fortius, Joachim (c.1500-1536)
(Fortio, Ringelbergius)
Cited by Danti (1583), almost nothing is known about this encyclopaedic writer whose Opera (1531), which went through five editions, contained a short section on perspective derived largely from Pélerin.
Francesco di Giorgio Martini (1439-1501)
(Giorgio Martini, Francesco di; Martini, Francesco di Giorgio
Francesco di Giorgio Martini, author of a treatise, Archittetura civile e militare, extant in five manuscripts is accessible through a standard edition by Maltese (1967, cf. 1949).
Modern scholarship on Martini's contribution began with articles by Berti (1925), Dorner (1929), and Jaffé (1933), followed by Degenhart (1935, 1939), Weller (1943), Papini (1946), Chastel (1950) and Rotondi (1961, 1969, 1970). Scaglia explored his relation to contemporaries. Parronchi (1965-1966, 1971) examined his perspectival constructions, which were further analysed by Veltman (1986).
G.A. with a Calthorp, Master (fl.1535)
(Der Meister GA mit der Fussangel; Le maitre a la chausse trappe)
Nagler (IV,958), citing the Marolles catalogue referred to an architectonic book that appeared in Rome (1535) containing 33 copperplate engravings among which some were by the Master GA. This work deserves comparison with a Wolfenbüttel omnibus volume (call no. 37.2.1 Geom.2o(4)) which contains 17 plates with the mark of this engraver and is the more interesting because it also contains drawings relating to Androuet du Cerceau's Aliquot templorum antiquo more, his Optices quam perspectivam nominant and Cock's writings.
Galli Bibiena, Alessandro (1686-1748)
Allesandro Galli Bibiena produced 8 drawings in an Album (Album di lavoro now Munich, Theater Museum).
Galli Bibiena, Ferdinando (1657-1743)
(Bibiena, Ferdinado Galli da; Da Bibiena, Ferdinando Galli; Galli Da Bibiena, Ferdinado)
Ferdinando Galli Bibiena, architect and painter of the Duke of Parma, published Direzioni a giovani studenti del disegno dell'architettura civile (1725) and Direzioni della prospettiva teorica (1732 with original drawings in Venice, Fondazione Cini as listed by Mancini et al. (1975, 84-85,94). He also produced 4 drawings in an Album (formerly Collezione Algarotti, now Rome, Accademia di San Luca, Biblioteca Sarti). Active in scenography, he designed the scenes for Didio Giuiano by B. Sabadini (Piacenza, Teatro Ducale, 1687 with 10 engravings now Bologna, Civico Museo Bibliografico Musicale); twelve scenes for two works at Turin, Reggio Teatro (1699) engraved by Pietro Giovanni Abbati and Carlo Antonio Buffagnotti now Rome, Gabinetto Nazionale Disegni e Stampe); scenes for Esione by F. Ballarotti (Turin, Teatro Regio, 1699 carried out by G. P. Abati); scenes for L'Endimione of Magni and Griffini (Turin, Teatro Regio, 1699 including a Little Forest (Picciol Boscetto, with engravings by P.G. Abati and C.A. Bufagnotti now Rome, Gabinetto Nazionale Disegni e Stampe), and worked together with Domenico Mauro 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. (1975,76-77, 86) who also mentioned drawings for unidentified works: A Roman Camp at the Gates of Rome (Accampamento romano alle porte di Roma, now Venice, Fondazione Cini); a Delicious Forest between the City and the Tents of Pirro (Delitiosa Boscareggia fra la Citta le Tende di Pirro) and a Regal Room with a Throne (Sala Regia con Trono now Munich, Graphische Sammlung). Kellermann (1924, 114,,186-187) noted that he also designed illusionistic ceilings which integrated painting and architecture (Parma, Sant'Antonio, 1714). Rouchès (1928-1929) examined drawings at the Louvre which he attributed to Ferdinando and Francesco Bibiena. Prota-Giurleo (1960) surveyed briefly the achievements of the Bibiena family. Ottani (1963) drew attention to an eighteenth century manuscript with notes on the family (Bologna, Biblioteca communale dell'archiginnasio, Miscellanea Hercolani 35). ....(1965) studied his connections with the Opéra at Nancy, a theme taken up afresh by De Sampayo Ribeiro (1966). An important catalogue by Muraro and Povoledo (1970) led Lenzi (1971) to reflect afresh on questions of Ferdinando's role in the invention of scenes at an angle (ad angolo).
Galli Bibiena, Giuseppe (1696-1756)
G. Galli Bibiena was the author of Architectures and perspectives (Architetture e prospettive, 1740), an important collection of scene paintings in perspective, published by Pfeffel, to whom the work has sometimes been attributed.
As a practitioner Giuseppe Galli Bibiena was a painter of quadratura (Vienna, Palast Rofrano, i.e. Palais Auersperg) and theatre decorations.
Bibiena's treatise was explored by Saxon (1969); his painting practice was discussed by Knall-Brskovsky (1984, 233).
Gallucci, Giovanni Paolo (fl. 1593)
Gallucci translated Pélerin's De artificiali perspectiva into Italian (1599).
Gauricus, Pomponius (1482-1530)
Gauricus was the author of De sculptura (1504) which had a section on perspective and linked it with terms from classical rhetoric.
Literature on Gauricus began with an undated biography in manuscript by Chioccarelli (Naples, Biblioteca Nazionale). Brockhaus (1885, 1886) described and edited Gauricus' text, offering an interpretation which has since been dismissed as false by Klein and Chastel editors of the standard modern edition (1969). Percopo (1891-1893) provided a serious biography. Panofsky (1927) offered a new interpretation of his method. Klein (1961), in an important article re-assessed earlier interpretations and linked the development of the distance point construction with a tradition of workshop practice from the North. These ideas were pursued by Kitao (1962) and by Klein in his important edition (1969) which remains the best statement of modern work on Gauricus although there have been brief articles by Defradas (1970) and Parronchi (1970).
Ghiberti, Buonaccorso (1451-1516)
Buonaccorsi Ghiberti, the author of Zibaldone (Florence, Biblioteca nazionale Centrale, ms. BR 228), whose drawings have been linked with Brunelleschi's machines for architecture and scenography and specifically (fol. 115r) his drawing of a mechanical mandorla such as the one used for the feast of the Annunciation (Florence, Chiesa di San Felice, 1539), was discussed by Zorzi (1977, 165-167). Scaglia (1976) examined his bronze works and texts and went on (1979) to examine his translation of Vitruvius and copies of late antique drawings.
Ghiberti, Lorenzo (1378-1455)
Ghiberti was the author of I commentarii which drew heavily on mediaeval optics and may have furnished a context for the early experiments in perspective.
Ghiberti's perspectival practice was discussed by Vasari (I,251-252). White (1957, 126-130, 160-164) discussed examples of proto-perspective such as the Imprisonment of Saint John (Siena, Baptistery), Jacob and Esau, Joseph and His Brethren and the Meeting of Solomon and the Queen of Sheba (Florence, Baptistery).
Modern studies began with Venturi (1917) and Castiglione (1921). Doesschate (1940) made a fundamental study of the sources of his Third Commentary and noted that in adddition to Vitruvius, he used six mediaeval sources: Alhazen, Witelo, Bacon, Peckham, Averroes and Avicenna. Since then there have been various articles by Schlosser (1941), Nicco Fasola (1942), Parronchi (1961, 1964), Vescovini (1965-1966), Bloom (1969) and Gage (1972). A basic study of all his work remains Krautheimer (1956). An international conference on Ghiberti (published 1978) gave a survey of recent work by Federici-Vescovini, Gioseffi, Maltese and Vagnetti.
Giocondo, Fra ()
Geymüller (1891; cf Lanciani, 1891) attributed to Fra Giocondo three volumes in the Destailleur collection (Paris), which have since moved to the library of the Hermitage Museum as described by Gukovskj (1963).
Glockendon, Jörg, the Younger (fl.1530-1555)
(Glogkendon)
Glockendon translated Pélerin's On Artificial Perspective from French into German (1540) and was discussed briefly by Sondheim (1892, 1927).
Haiden von Nürnberg, Hans (fl.1590)
(Handen, Johann der jüngere)
This artist was mentioned by Pfintzing (1598) as having made a new perspectival instrument (c.1590).
Hamellius, Pascasius (fl. 1536-1542)
Hamellius was the editor of the 1542 edition of Peckham's Optics which was frequently cited as a perspective treatise with the editor being mistaken for the author.
Has, Georg (fl.1571-1583)
This author of 75 remarkable engravings of perspectival ceilings and quadratura was discussed briefly by Ritter (1896).
Haydocke, Richard (1552?-1605)
He translated books I-V of Lomazzo's Treatise of the Art of Painting from Italian into English (1598).
Heemskerck, Maarten Van (1498-1574)
Heemskerck made a trip to Rome (1532-1536) where he produced an important Sketchbook (Berlin, Kupferstichkabinett), which was edited by Huelsen and Egger (1916).
Hirschvogel, Augustin (1503-1553)
Hirschvogel was the author of two treatises which linked geometry, architecture and perspective (1543) and also produced four sheets of geometrical bodies (Berlin, Kupferstichkabinett, Cat. 4689: B 131-134).
Hoogstraten, Samuel van (1627-1678)
(Van Hoogstraten, Samuel)
Samuel Van Hoogstraten wrote Inleyding tot de Hooge Schoole der Schilderkonst (1678). As a practitioner he was known for his Peepshow with Views of the Interior of a Dutch House (London, National Gallery, c.1654-1662) and was also a painter of church interiors, one of which was cited in the catalogue by Giltaij (1991).
Huret, Grégoire ()
Huret, the author of Optics of portraiture and painting (1670), who replaced Bosse as professor of perspective at the Académie royale des arts et sciences, was studied by Van Helsdingen (1970).
Jamnitzer, Wentzel (c.1508-1586)
(Jamitzer; Vuendelius Iamicherus; Venthelius; Wenzelius vel Wenceslaus Jamizerus; Giannizzero, Vuenzeslao)
Jamnitzer was a goldsmith and prominent citizen of Nürnberg, author of Perspectiva corporum regularium (1568). A manuscript at the Herzog August Bibliothek in Wolfenbüttel (Cod. Guelf.74.1.Aug.fol.) attributed to him by Franke (1975) was probably by a student familiar with both Jamnitzer and Lencker, possibly from Augsburg. He wrote a manuscript on surveying (formerly Dresden, destroyed in war) and a treatise on instruments (London, Victoria and Albert Museum), which has never been seriously studied.
Mentioned by Freigius (1580,p38) and by Danti (1583,preface), Bergau (1881) explored Jamnitzer's work as a goldsmith. Schönherr (1888) examined his work for Archduke Ferdinand. Important biographical material on his family was collected by Frankenburger (1901). Engelmann (1914) drew attention to his scientific instruments. Articles by Rosenberg (1920), Schenk (1926), Kris (1932) and Braun (1951) drew attention to lost and forgotten works. Bedini (1968) examined his perspective machine. A significant catalogue by Prechtl (1969) examined his work on regular solids in relation to Lencker and Stoer. Pechstein (1970) examined his drawings. A major catalogue edited by Bott (1985) summarizes our present knowledge of Jamnitzer's contributions.
Jode, Gerard De (1509-1591)
(Gerard de Jode; Judaeus, Gerardus)
De Jode was the author of a treatise on Roman ruins, Ruinarum variarum delineatione (1550), many plates of which relate to Androuet Du Cerceau. At least ten plates of the 1612 edition are found in Orlandi's Almae urbis Romae.
Johann II von Pfalz-Simmeren (fl.1531)
(Herzog Hans von Hunsbrück; Herzog Johann Pfalzgraf bei Rhein, Graf zu Sponheim)
Johann II von Pfalz-Simmeren was considered by Schüling as the possible author of Ein schön nützlich Büchlein (1531) edited by Rodler, to whom the book has also been ascribed.
Kaessmann, Rutger (fl. c.1600?-c.1650?)
(Kasesmann, Rutger)
Kaessmann was the editor Architectura (1600) based on a work by Blum under whose name it is sometimes listed.
Klee, Paul (1879-1940)
Klee, connected with the Bauhaus, wrote a Pedagogical Sketchbook (1925) which outlined new approaches to space. His perspectival practice was discussed by Zanini (1980).
Krammer, Gabriel (fl. c. 1600-d.1611)
(Crammerus; Kramer, Gabriel)
Krammer, an artistic cabinet maker (Kunstschreiner) was the author of Schweiffbüchlein, Mancherley Schweiff, Laubwerck, Rollwerck, Perspectif (c.1600) which appeared in a number of the early bibliographies such as Draud (1611,431) and Lipen (1682,113). Cicognara (1821,95) referred to plates with the date 1599 bound together with other engravings by Vredeman de Vries and Dominicus Custos.
Lafréry, Antoine (1512-1577)
Lafréry was the author of Speculum Romanae magnificentiae (1575), a collection of plates the majority of which date 1544-1553, albeit some were as late as 1566. This was a key source for later adaptations by Androuet Du Cerceau (1584), Boissard (1603) and Lauro (1612-1613).
La Gournerie, Jules Antoine René Maillard de (1814-1883)
La Gournerie was the author of a Treatise on descriptive geometry (Traité de géométrie descriptive, 1860) and a very important Treatise of linear perspective (Traité de perspective linéaire, 1859).
Pirenne (1970) mentioned his work with respect to vision and representation of lateral objects. Marcussen (1980) studied his contribution briefly.
Lambert, Johann Heinrich (1728-1777)
Lambert was the author of several works on perspective which were the subject of an important study by Steck (1943) and more recently placed in the context of the history of mathematics by Laurent (1987).
Lamleon, Hansen
Linked with an edition of Perspectiva (Augsburg: Müller,1617) Lamleon was cited by Murhard (1797,209) as appearing in a catalogue of books. Murhard suggested that it might be a confusion with a work by Pfintzing which originally appeared (1598) and was reprinted as Optica. It is more likely that Hansen Lamleon is yet another variant of Hans Lencker (q.v.).
Lautensack, Heinrich (1522-1568)
Lautensack was the author of Des Circkels unnd Richtscheydts auch der Perspectiva...underweisung (1564) which though cited in various bibliographies including Vagnetti (1979,332), has had no serious articles devoted to it.
Lencker, Hans (152_-c.1585)
(Linicerus, Lenecerus, Lenckerus, Leucker, Luncker, Lenclaer)
Lencker, Nürnberg goldsmith and contemporary of Jamnitzer, was author of two treatises, Perspectiva literaria (1567) and Perspectiva (1571). He published these as a result of a visit from Paris by Ramus and Risner. Attributed to him also is a manuscript with early versions of both the proportional compass and the sector (Chicago, Newberry Library).
Cited by Danti (1583, preface) and Freigius (1580), mentioned in a catalogue edited by Prechtl (1969), Lencker has not been studied.
Leonardo da Vinci (1452-1519)
(Da Vinci; Vinci)
Leonardo da Vinci was the author of various manuscripts with notes on perspective. Chief among those extant were the Manuscripts A, E, G (now Paris, c.1492), the Codice Atlantico (Milan) and the Trattato della pittura. Cellini in his Trattati dell'Orificeria referred to a manuscript which among other things contained "a discourse on perspective, the most beautiful which was ever found by anyone in the world". Comolli (1791,189-190) referred to a Libro delle ombre e dei lumi which is no longer extant. In terms of practice he is most famous for his Last Supper (Milan, Santa Maria delle Grazie, 1495-1497).
Cited by Pélerin (1521, 1r) and Caporali (1536), mentioned by Vasari (II,156-158, 160, 163, 165, IV, 28), Danti (1583, preface), Lomazzo (1585,336, 100-101; 1590, 17,52,149), Comolli (1791, 189-201) and Poudra (1864,I,126), modern study began with Jordan (1873), Ravaisson Mollien's edition of the manuscripts at the Institut de France (1891), Ludwig's edition of the Treatise on Painting (1882) and Richter's anthology (1883). Nielsen (1897) devoted a first monograph to Leonardo's perspective in the context of Raphael, Bramante and Giulio Romano. Mesnil (1922) emphasized scientific aspects of his perspective. Ivins (1938) drew attention to Leonardo's diagram for the legitimate construction. Bassoli (1938) drew attention to CA 35va and claimed that Leonardo had invented anamorphosis. The following year Bassoli (1939) drew attention to CA i bis va with its perspectival window. Panofsky (1940) discussed a combination of Euclidean optics and linear perspective in the Codex Huygens. White (1949-1951) claimed that such curvilinear methods represented a major trend in the Renaissance and owed much to Leonardo. By way of reply, Pirenne (1952) in an important article demonstrated the scientific basis of Leonardo's linear perspective.
Luporini (1953), Francastel (1953) made general claims. Pedretti (1953) attributed to Leonardo an anamorphic drawing of Francis I. Wittkower (1953) examined the problem of proportionality and re-assessed his contribution in relation to Piero della Francesca. Castelfranco (1954) discussed the Treatise on Painting. Nicco Fasola (1954) linked his perspective with cosmography and geography. Agostini (1954) collected basic quotations on light and perspective. Pedretti (1956, 1957) examined his anamorphosis in relation to Lomazzo. White (1957) pursued his earlier claims about Leonardo's use of spherical perspective which he termed synthetic perspective, which Gioseffi (1957) challenged arguing that Leonardo's only contribution was in physiology and psychology of vision. Pedretti (1958) drew attention to folios at Oxford. Rzepinska's (1961) dissertation examined Leonardo's pictorial science. Bovi (1962) focussed on his light and shade. Maltese (1962) reviewed recent claims. Brion Guerry (1962) emphasized his Albertian heritage and (1963) asked whether he had known the distance point construction. Pedretti (1963) revived White's hypothesis concerning synthetic perspective. Brizio (1968) reviewed literature 1952-1968. Chastel (1972) drew attention to Madrid II 15v with respect to curvilinear perspective. Pedretti (1973) drew attention to the Zaccolini manuscripts. Maltese (1978, 1980) returned to questions of curvilinear perspective. Pedretti (1978) offered idealized reconstructions of the perspective lines in his paintings. Naumann (1979), Polzer (1980) and Kemp (1981) offered reconstructions of his Last Supper. Veltman (1986) gave a survey of this literature and provided a first complete study of all Leonardo's perspectival writings.
Ligorio, Pirro (1513/1514-1583)
(Ligori)
P. Ligorio, an architect, was the author of a book on Roman ruins, Libro delle antichità di Roma, of which there are extant manuscript copies (Oxford, Bodleian, Canon. ital. 138; Paris, Bibliothèque Nationale, Cod. ital.1129=81 Geom. no.86 and Naples, Biblioteca Nazionale, Ms. XIII B 7) the latter of which has been published by Mandowsky and Mitchell (1963). His activities as a scenographer were mentioned by Zorzi (1977, 25).
Lomazzo, Giovanni Paolo (1538-1600)
Lomazzo was the author of a Treatise on the art of painting (Trattato dell'arte de la pittura, 1584) which contained a fifth book (i.e.chapter) on perspective, and an Idea of the temple of painting (Idea del tempio della pittura, 1590).
Klein (1957) wrote an important dissertation on Lomazzo's Idea. G. Ackermann (1967) explored his Treatise. Ciardi (1965) examined the structure and significance of his writings.
Luini, Aurelio (1530-1593)
According to Panofsky (1940,86-89) and White (1957,214), Luini was a possible author of the anonymous Codex Huygens. Cf. Carlo Urbino.
Magagnolo, Francesco (fl.1491-1494)
Magagnolo was cited by Morelli (1800,144) as author of a treatise on perspective which is no longer extant.
Maggi, Giovanni (1566-1620)
(Maius, Ioannes)
Maggi was the author of a book on Roman ruins, Ornamenti di fabbriche antichi et moderni dell'alma citta di Roma (1600), sometimes listed under the name of its editor, Bartolommeo de Rossi.
Malatini, Hieronymo ()
Malatini, described as a master of perspective by Pacioli (1494,dedication), was the teacher of both Vittore Carpaccio and Giovanni Bellini according to Barbaro (Marciana Ms.It.IV,39.2r).
Mantegna, Andrea (1431-1506)
(Montaigne, André)
Vagnetti (1979,314) attributed to Mantegna a lost work with the conjectural title of Trattato di prospettiva, based on a statement by Lomazzo (1590,17): "Mantegna c'ha fatto alcuni disegni di prospettiva dove ha delineato le figure poste secondo il suo occhio, delle quali io ne ho veduto alcune di sua mano, con suoi avertimenti in scritto".
In terms of perspectival practice Mantegna is most famous for his work in Padua (Eremitani, Ovetari Chapel): Life of Saint Christopher (c.1449-1450); Life of Saint Paul (1449-1450); Life of Saint James and John (1450) and Assumption of the Virgin (1456); his Adoration of the Magi (Florence, Uffizi, 1462) with a cylindrical or concave perspective; his work in Mantua (Palazzo Ducale, Camera degl'Sposi), particularly the Oculus (1473) and his Dead Christ (Milan, Brera, 1480 ; cf. Glen Head, New York, De Navarro Collection).
Cited by Pacioli (1494,2r); Pélerin (1505,1r), Vasari (II,105,108), Lomazzo (1585,271,274; 1590,17,52-53,150), Serlio (1587,18v), and Vagnetti (1979,277,314), he was studied by Kristeller (1902), Schrade (1930), Fiocco (1938, 1939), Suida (1946) who compared Mantegna and Melozzo, Tietze-Conrat (1948), Bologna (1956) who wrote on the Dead Christ, White (1957,40,154,193,200) and Castelfranco (1962). The first and only comprehensive study was Beyen (1931). Fasolo (1965) analysed the perspectival structure of three of paintings by Mantegna: the Martyrdom of Saint Christopher, The Baptism of the Magus Ermogenes and Saint James led to Martyrdom. More recently there was a serious article by Battisti (1971) and an analysis of the Dead Christ by Smith (1974). Mulazzani (1980) identified the literary source of the Camera degli sposi and explored its implications for the spatial construction of the room. Perino (1989) reconstructed the perspectival lines of the Saint Luke polyptych (Polittico di San Luca) for the catalogue on the occasion of its restoration.
Martin, Jean (fl. 1528-d.c.1553)
Martin was the translator from Italian into French of Serlio's second book of Architecture (1545).
(Meleghino, Jacopo (fl.1535-d.1549)
(Melighini da Ferrara, Jacopo)
According to Vasari (II,299; IV,94), Jacopo Melighini da Ferrara inherited many of Peruzzi's writings along with Serlio, was subsequently named architect of Paul III and went to the Belvedere with Vignola.
Melzi, Giovan Francesco de' (1493-c.1570)
Melzi, a student of Leonardo da Vinci, was the compiler of Leonardo's Trattato della pittura, (now Vatican, Codex Urbinas 1270), owner of Leonardo's manuscripts after his death in 1519 and teacher of Gerolamo Figino. He was mentioned by Lomazzo (1585,336).
Mengs, Anton Raphael (1728-1779)
Vagnetti (1979,460) attributed to him a work, Traité divers sur la perspective, written 1779 and published posthumously (1788). A dissertation by Christoffel (1918) on Mengs' writings made no mention of this work.
Monte, Guidubaldo Del (1545-1607)
(Burbon del Monte; Guidi Ubaldi e Marchionibus Montis)
Guidubaldo Del Monte, a student of Commandino at Urbino, was a mathematician, and author of one of the most famous treatises on the subject, Perspectivae libri sex (1600), which has recently appeared in a modern edition by Sinisgalli (1984). A manuscript of his Meditatiuncolae remains (Paris, Bibliothèque Nationale, ms. latin 10246, ex supp. latin 1058).
Mentioned by Malton (1783,2,80-84), Poudra (1864,185-213), Nielsen (1898,43-45) modern interest in his mathematical achievements began with Loria (1921, 15-19) and Amodeo (1932, 141-147). Schöne explored his interests in stage scenery as did Marotti (1974). Vagnetti (1979, 345-347) discussed him briefly.
Murdoch, Patrick (fl.1729-1774)
Murdoch, author of a book on the Genesis of Newton's curves through shadows (1646), was studied briefly by Wieleitner (1913-1914).
Neroni, Bartolomeo (c. 1500-1571/1573))
(Il Riccio; Riccio, Il)
Bartolomeo Neroni, a student of B. Peruzzi, produced a manuscript on Machines and Architecture (Macchine e architettura, Siena, Biblioteca communale, S.IV.6). Active in scenography, he made the scene for L'Ortensio by Alessandro Piccolimini (Siena, Accademia degli Intronati, 1560) based on a drawing by Gerolamo da Bolsena.
Orsini, Baldassare 732-1810)
B. Orsini, an architect in Perugia, wrote Della geometria e prospettiva pratica, (1771) which was mentioned by Vagnetti (1979, 458). Active in scenography he also published Le scene del nuovo teatro del Verzaro di Perugia (1785) as listed by Mancini et al. (1975,131).
Pacioli, Luca (1445-1510)
Pacioli was the author of the Summa di aritmetica, geometria...(1494), which contained the first published pages on perspective. Between 1496 and 1499, while at the court of Ludovico Sforza in Milan he wrote the Divina Proportione (1509) for which his colleague Leonardo da Vinci prepared the illustrations. Two manuscript copies of the Divina proportione remain extant (Milan, Biblioteca Ambrosiana, Ms. Et. 170 sup.; Geneva, Bibliothèque universitaire, Ms.1.e.210 Petau).
Modern scholarship began with Pungileoni (1834-1835). Biographical material was provided by Cossali (1857), Coleschi (1886), Staigmüller (1889) and Evelyn (1914). De Toni (1919) examined Leonardo da Vinci's collaboration in producing illustrations for his On divine proportion (1509). Di Fonzo (1943) praised his mathematical contributions. An important strand of scholarship has emphasized Pacioli's supposed plagiarism from Piero della Francesca, q.v.
Palladio, Andrea (1508-1580)
Palladio, active both as a theoretician and a practitioner, is most famous for his I quattro libri di architettura (1570). As a practitioner he was active in building the Teatro Olimpico at Vicenza (1580-1585) on which he collaborated with Scamozzi.
His activities were discussed by Vasari (IV,91-92) and studied by Magagnato (1951), Zorzi (1965) and Gioseffi (1972, 1974). Forssman (1973) examined his Villa Malcontenta in terms of visible harmony. Huse (1974) examined his Villa Maser in relation to his theoretical writings. Burns (1975) produced the best modern exhibition with an excellent catalogue.
Parigi, Alfonso (1606-1656)
(Alfonso Parigi; Giulio Alfonso Parigi)
Alfonso and his son Alfonso, il giovane (d. 1684) are said to have worked together on a Taccuino of architecture and machines (Florence, Biblioteca nazionale, Palat. 853). The son of Giulio Parigi, Alfonso was an engraver of scene paintings in the Medici court who did some independent work but also illustrated scenes done by Giulio Parigi. On the occasion of the wedding of Margherita de'Medici with Odoardo Farnese (Florence, Teatro degli Uffizi, 1628) he made five engravings (now Rome, Corsini) for La Flora o vero il natal'de Fiori by M. Gagliano and J. Peri. On the occasion of the wedding of Ferdinando de'Medici with Vittoria della Rovere (Florence, Cortile di palazzo Pitti, 1637) he made eight drawings engraved by Stefano della Bella (now Rome, Corsini) for Le Nozze degli Dei of G. C. Coppola. His work was listed by Mancini et al. (1975,52-53) and discussed by Fabbri, Zorzi, Tofani (1975,93 ff.).
Parigi, Giulio (1571-1635/1636)
(Giulio Parigi)
Giulio, the father of Alfonso Parigi, was an architect, engineer and scenographer who worked in the Medici Court in the late 16th century whose work was discussed by Fabbri, Zorzi, Tofani (1975, pp. 93 ff.) and listed by Mancini et al. (1975, 47-48). Two manuscripts on Instruments and Machines (Strumenti e macchine, Paris, Biblothèque Nationale, ms. It. 1292 and ms. It. 468), also associated with Buontalenti, were attributed to him by Ciano et al (1980). He produced sets for La Regina Sant' Orsola (Florence, 1624) and La Liberazione di Ruggiero (Florence, 1625). His Palazzo di Fama Intermedio primo (Florence, Uffizi, Gabinetto Disegni e Stampe, n.95763); Il Giardino di Calipso (Uffizi, n. 51138) and Terzo intermedio dove si vide venire amore con tutta la sua corte a dividere la battaglia (Uffizi, n.8017), Il natal de fiori irrigati dal fonte Pegaseo col ballo dell'aure (Uffizi, n.2300) and others were discussed by Fabbri, Zorzi and Tofani (1975). He also made a sketch for Il Solimano (Milan, ex collection Pogliaghi), cited by Schnapper (1982, fig. 36). Some of his scenes were rendered as engravings by Alfonso Parigi.
Peckham, John (c.1230-1292)
(Pecham, Petsanus, Pisanus; Ioannes Archiepiscopis Cantauriensis)
John Peckham, a student of Roger Bacon, was the only Franciscan and only friar to become archbishop of Canterbury. His scientific writings included a work on mystical arithmetic, a Treatise on optics (Tractatus de perspectiva) and a Common optics (Perspectiva communis). Written c. 1270-1280 this latter work was probably the most popular work of the period. Technically speaking, it was strictly a treatise on optics rather than perspective. However, a copy of the 1482 edition, which belonged to Cesare Cesariano, (Milan, Biblioteca Ambrosiana, Inc. 1105), has numerous manuscript notes plus diagrams relating to perspective as noted by Bertacchi (1982, 165) in the catalogue on Zenale.
Scholars have included editions of Peckham's work in their bibliographies on perspective: Murr (1770,491) listed the 1508 and 1593 editions; Cicognara (1821,153) listed the 1504, 1556, and 1592 editions. Serious studies of Peckham include Ehrle (1889), Spettmann (1923), Callebaut (1925), Doucet (1933), Knowles (1942), and Thorndike (1942). Lindberg's edition (1970) is a standard reference. Valuable also are his articles on pinhole images (1968, 1970, 1970, 1971) and his book on the history of optics (1976) which rightly distinguishes between optics (vision) and perspective (representation) but in so doing misses historical aspects of their interplay.
Pélerin, Jean (1435/1440-1524)
(Péregrin, Peregrinus, Viateur, Viator)
Pélerin was the author of De artificiali perspectiva, the first published treatise dedicated entirely to perspective which went through numerous editions. The standard modern edition is by Brion Guerry (1962). A manuscript relating to Pélerin is at Wolfenbüttel (Cod. Guelf..458.1.Nov.).
Cited by Danti (1583, preface), modern scholarship on Pélerin began with an edition by De Montaiglon (1861), and comments in Poudra's (1864, 132-136,141-147) history. Sondheim (1892, 1927) examined the 1509 and 1540 pirate editions of Glockendon). An article by Save (1897) added biographical context, a dissertation by Grubic (1927) examined the origins of his perspectival principles. A booklet by Clanche (1928) was more general. Rau (1935) listed 7 known copies of the 1505 edition. Studies by Rossiter (1935), Da Villa (1937, 1939-1940), Brun (1938), Ivins (1938), Pächt (1941), Viola (1948), and Baltrusaitis (1955) added some insights. Since then the field has been dominated by Brion Guerry (1958, 1962, 1963, 1963).
Perret, Jacques (fl. c.1594-1605)
Perret was the author of Des fortifications et edifices d'architecture et perspective (1594).
Peruzzi, Baldassare (1481-1537)
(Petrucci, Petruccio)
Peruzzi was both a a theoretician and a practitioner. In terms of theory, according to Vasari (II,294-296; IV,309), Peruzzi made a series of drawings and notes on perspective which were inherited largely by Melighini da Ferrara and Serlio and became the basis of his second book on Architecture. According to Danti (1583,72) Peruzzi was the inventor of the regola ordinaria, an abbreviated version of the regular perspective method. Peruzzi made a sheet entitled I due sistemi prospettici (Florence, Uffizi, Serie A, 2956); plans for stage scenery in a Sketchbook (Siena, Biblioteca Communale, ms. S.II.4, fol. 70r) and his Taccuino (Siena, Biblioteca Communale, fol. 33v.); a design for the comic scene (Florence, Uffizi, Gabinetto Disegni e Stampe, n.A291); a design for the tragic scene (Siena, Pinacoteca, 1514-1536, copied in a drawing now in Stockholm, Nationalmuseum) which served as a basis for Serlio; a drawing for a groundplan and an elevation of scenography for Plautus' Bacchides (performed Rome, Palazzo Cesarini, 1531, now Florence, Uffizi, Gabinetto Disegni e Stampe, 268-269); another sketch for stage scenery possibly also Plautus' Bacchides, (Florence, Uffizi, A30); a Drawing of a Street in Perspective (Disegno di Strada in Prospettiva, Turin, Biblioteca Reale), and a Perspective with a View of a Street through an Arc (Prospettiva con Veduta di Strada attraverso un Arco).
As a practitioner Peruzzi painted the illusionistic room, Sala delle prospettive and ceiling (Villa Farnesina, Rome, c.1511-1512) and an illusionistic ceiling (Palazzo Belcaro near Siena). Peruzzi's work was mentioned by Lanzi (1795-1796), and studied by Sandström (1963,102-103). Peruzzi's drawings for stage scenery were studied by Stein (1969, 21-24) and Povoledo (1975,1596ff.) who mentioned his scene for La Calandria performed in Rome (1514) and claimed that about that year Peruzzi introduced stage scenery in depth, with screens positioned at different points along the stage.
Cited by Vasari (II,294-296, 299; IV,309) Danti (1583, 72), Lomazzo (1585,264; 1590,17,150), Serlio (1587,18v) and Poudra (1864,I,125), modern scholarship on Peruzzi began with Egger (1902), Badt (1959), Sandström (1963), Frommel (9167-1968), Stein (1969) and Povoledo (1975). Veltman (1975, 1986) offered an interpretation of his ordinary rule (regola ordinaria).
Peruzzi, Giovanni Sallustio (c.1500?-1573)
(Salverio, Giovanni; Salvestro, Giovanni)
Sallustio, the son of Baldassare Peruzzi, who also made perspectival sketches of stage scenery (Florence, Uffizi) in Florence, was mentioned by Stein (1969, 23).
Pfintzing, Paul (fl. 1598-1600)
(Pfinzing)
Pfintzing was the author of Ein schön kurtzer Extrakt der Geometriae und Perspektivae (1598) which was originally planned as a private edition for his friends but was subsequently republished. Pfintzing was important because his was the first work to deal chronologically with major developments in Nürnberg in the course of the 16th century.
Piero della Francesca (c.1418-1492)
(Borghese, Francesca, Franceschi; Petrus e Borgo Sancti Sepulchri; Petrus Pictor Burgensis; Pietro Pittore di Bruges)
Piero della Francesca was the author of On Perspective of painting (De prospectiva pingendi) which is extant in two Italian and five Latin manuscripts and was not published until 1899. A first critical edition is being prepared by Dalai-Emiliani. Piero also wrote Libellus de corporibus regularibus and Trattato d'abaco, both of which were included by Danti (1583) as treatises on perspective.
Cited by Pacioli (1494, 2r), Volaterannus (1506, Lib. XXXV,TTii bis v), Vasari (I, 331-332,334-335, II,153, IV,302), Danti (1583, preface) and Comolli (1791, 186-187), Piero's treatise was discussed by Libri (1841, 315-320) and Chasles (1853). An important strand of subsequent literature has focussed on Luca Pacioli's supposed plagiarism of Piero's work. This began with Harzen (1856), and has continued with Janitschek (1878), Jordan (1880), Pittarelli (1909), Mancini (1916) in his edition, Agostini (1925), Arrighi (1968) and Marinoni (1970-1972). Some scholars have discussed the texts. Müntz (1884) considered briefly the Booklet on the five regular solids and his On the perspective of painting. Pittarelli (1904) made general comments about the On Perspective of painting. Arrighi (1968-1969) discussed all three treatises. Vagnetti (1975) examined the contents of On the perspective of painting. Jayawardene (1976) examined Piero's Treatise of the Abacus.
In the history of mathematics, Vacca (1920) explored his demonstrations of two theorems of Archimedes in the context of the history of algebra. Traverso (1950) analysed the Legend of the Cross in terms of proportions. Sinisgalli (1962) praised his mathematical furor in general.
In terms of reconstructions, Carter (1954) in a fundamental article with Wittkower analysed the space of the Flagellation, a theme taken up anew by Brocone (1968), Lavin (1972), Welliver (1973) who linked this with Domenico Veneziano in the context of symbolic architecture, and Verga (1976). Verga (1977) raised the question whether the pavement in Domenico Veneziano's Saint Lucy Altar originated with Piero. Lavin's book contained an appendix with an analysis by Carter of the proportions underyling Piero's Baptism, which provoked an attack by White (1982) and a polite rebuttal by Carter (1982). Martone (1980) reconstructed the spatial context of the Madonna del Parto. Martone (1985) offered reconstructions of his Annunciation in the Perugia polyptych and an axonometric version of the Proof of the true cross (Arezzo). Lightbrown () offered another erroneous alternative to Carter's analysis.
Meiss (1954, 1954) focussed attention on what he identified as an ostrich egg in the Brera Altar which led to a series of articles among which Ragusa (1971), Gilbert (1974). Other articles explored the space of the painting as a whole: Meiss and Jones (1966), Shearman (1968), Davies and Snyder (1970), Meiss (1972), Sangiorgi (1973), Parronchi (1976) and Ugolini (1985).
In the history of art Longhi (1944) considered Piero in relation to the development of Venetian painting. Casara (1945) explored his work in terms of the geometrical foundations of pictorial perspective. Lavin (1967) explored Piero's work in relation to Uccello and Joos van Ghent. Battisti's (1971) monumental two volume study,revised by dalai-Emiliani (1993), remains a basic work in the field. Janhsen (1990) in a dissertation explored relations between Piero's perspectival theory and practice.
The world conference on the occasion of the 500th anniversary of Piero's death (1992) included a section organized by Dalai Emiliani on his contributions to perspective. Andersen (1993) analysed discussions of anamorphosis in Piero's Perspective of Painting. Field (1993) examined the mathematics of the diagram accompanying book I, proposition 12 of this treatise. Frangenberg (1993) examined Piero's influence on sixteenth century authors such as Barbaro and Danti. Grayson (1993) reported on the criteria used for the new edition of the complete works of Piero della Francesca. Martone (1993) offered a series of highly imaginative and, according to some, equally inaccurate reconstructions of Piero's paintings. Smedley (1993, developing an earlier unpublished paper), reconstructed the proportions of the heads in Piero's Perspective of Painting relating them to Platonic proportions. Veltman (1993) reassessed Piero's role in the development of the two main methods.
Pino, Marco dal (c.1525-c.1587'1588)
(Marco da Siena)
Marco dal Pino was cited by Lomazzo (1590,17) and Morelli (1800,114).
Piranesi, Giovanni Battista (1720-1778)
Piranesi, the son of a stonemason, became famous for his engravings of Views of Rome (Varie vedute di Roma, 1745 etc.) and Prisons (Carceri, 1760 etc.).
Sekler (1962) discussed his Prisons. Bacou (1975) produced an important edition of selected engravings. Levit (1976) confronted 41 of his Views of Rome with contemporary photographs of the places they represent.
Pittoni, Giovanni Battista (1520-)
Pittoni was the author of a book on Roman ruins, Praecipua aliquot Romanae antiquitatibus ruinarum monimenta, vivis prospectibus...(1561) which was effectively a pirate edition of Cock (1551).
Porta, Giovanni Battista della (1535-c.1615)
(Della Porta)
According to Murhard (1805,197), Porta was the author of a now lost publication Perspective (Perspectiva, 1555). Schüling listed Porta's On refraction (De refractione, 1593) as a perspective treatise.
Poudra, Noel Germinal (1794-1894)
Poudra, best known for his History of perspective (Histoire de la perspective, 1864), and his edition of the Works of Desargues (1864), was also the author of treatises. His Treatise of relief-perspective (Traité de perspective relief, 1853, 1860) was the subject of an extended review by Chasles (1853). He also wrote Complements of geometry based on perspective (1868).
Poussin, Nicolas (1594-1665)
Poussin both a theoretician and a practitioner of perspective, founded the Académie Royale des Sciences, and appointed Bosse as its first professor of perspective.
Goldstein (1966) related his letter to Noyers with the theories of Barbaro (1568), Danti's edition of Vignola (1583) and Zaccolini (c.1600).
Pozzo, Andrea (1642-1709)
Pozzo wrote Perspectiva pictorum et architectorum (1693-1700), which became one of the most popular books of the eighteenth century with editions in Latin, English, Italian, German, French, Chinese and Russian.
As a practitioner he painted an illusionistic room with angels as musicians (Rome, Collegio Romano, Casa Professa, Corridor of St. Ignatius' rooms, 1682-1688). Active in vault decorations and quadratura, Pozzo painted ceilings in Jesuit churches (Rome, Sant'Ignazio, 1685-1694; Frascati, Il Gesu; Mondovi, Chiesa del Gesu, Gloria di San Francesco Saverio, 1670 or 1676-1677). He painted an illusionistic room (Montepulciano, Palazzo Contucci); fictive cupolas (Arezzo, Turin, Montepulciano) and worked in Vienna (Universitätskirche, c.1703 and a ceiling decoration with an Apotheosis of Hercules, Palais Lichtenstein, 1704-1707). His work in the Universitätskirche was restored by Peter Krafft (1832).
Pozzo's ceiling in Sant'Ignazio was mentioned by Lanzi (1795-1796), Kellermann (1924, 134-147) and studied by Bradley (1937) and Pirenne (1970,79-94). Among Pozzo's assistants was Fra Luigi Barbieri.
Prévost, Jacques (fl. c.1530?-c.1540?)
Nagler (IV,957) described Prévost as a painter and copper engraver and mentioned 12 sheets by him with capitals, bases, and other parts of Corinthian columns. These appeared in an anonymous omnibus volume now in the Herzog August Bibliothek, Wolfenbüttel (37.2.1.Geom.2o(4)), which also has drawings relating to Androuet Du Cerceau's Aliquot templorum antiquo more, his Optices quam perspectivam nominant and Cock's works.
Prospettivo Milanese (fl.1500 )
(Prospectivo Melanese Depictore)
Prospettivo Milanese was the author of a poem entitled Antiquarie prospetiche Romane (1500), studied by Govi (1876). Santoro (1956) assumed he was Bramantino. Donati (1962) concluded that he was an isolated artisan. De Angelis D'Ossat (1966), Pedretti (1973, 1977,I,327) and Fienga (1974) identified him as Bramante. Ost (1975) linked him with Leonardo.
Ptolemy, Claudius (c.100-c.178)
Ptolemy wrote the Optics which was one of the starting points for the work of Ibn al Haytham (Alhazen). His Geography considered two, and according to some, three projection methods which have been linked with the origins of perspective. Ptolemy also wrote on the Analemma and the Planisphere, both of which involved projection principles.
Studies of his optical writings include Caussin de Perceval (1822), Martin (1871), Boncompagni (1871) and Lejeune (1948) who has also produced a standard edition (1956). Lemoine (1958) has argued for the geographical origins of the optical box associated with Brunelleschi and Alberti. The chief exponent of Ptolemy's Geography as a source for perspective has been Edgerton (1974, 1975). Veltman (1977, 1980, 1986) has noted links between planisphere projection and the origins of perspective. Sinisgalli (199) and Gambin (1993) have produced new editions of the Planisphere.
Puec, Hans (fl.1593)
Puec's signature occured on various garden designs in a manuscript dated 1593 (cf. NUC 643, 127) sometimes attributed to him but generally ascribed to Jan Vredeman de Vries or one of his family.
Quaglio, Johann Maria von (1772-1813)
(Quaglio, Giovanni Maria)
Johann Maria von Quaglio published a Praktische Anleitung zur Perspective (Munich, 1811). As a scenographer he produced a Closed Prison (Carcere chiuso, now New York, Metropolitan Museum), based on Righini's Seraglio, listed by Mancini et al. (1975, 107).
Raphael Santi di Urbino (1482-1520)
(Raffaello; Santi, Raphael
Raphael wrote a translation and commentary on Vitruvius (now Munich, Bayerische Staatsbibliothek, Cod. ital. 37 fol., ed. Vincenzo Fontana, Rome, 1975) in connection with his appointment by the pope as head of archeological sites in Rome. Attributed to him or his workshop was a Project for a Perspectival Scene (Progetto per una Scena Prospettica, possibly for the Suppositi, Florence, Uffizi, A 242r, 1519).
Chiefly remembered as a painter, his perspectival practice was discussed by Vasari (II,187,194,223,225-227,242,244), who acknowledged his debt to Bramante for the architectural design used in the Stanze. Raphael was mentioned by Serlio (1587,18v) and Lomazzo (1585, 252-253,264,272, cf.101,320; 1590, 52, 148, cf.16,149-150) and studied by Lankoronska (1935), mentioned by Fiocco (1939), Badt (1959), Bianchi (1968) and Shearman (1971). Raphael's painting of the Vault Decoration of the Third Dome, (Rome, Vatican, Raphael's Loggia, c. 1517-1519) was discussed by Sjöström (1978, pl.3) and mentioned by Milman (1986,32).
Raphael's Mystic Marriage of the Virgin (Sposalizio, Milan, Brera) was analysed in terms of its geometrical proportions by Couprie (9167-1968). His School of Athens has inspired several interpretations. Valtieri (1972) explored its connection with harmonic theories of Plato's Timaeus. Fichtner (1984) explored further this idea of hidden geometry in the painting. Mazzola, Krömker and Hofmann (1986) produced a computer reconstruction of the space.
Reichlinger, Jacob (fl. 1542)
Reichlinger was the translator into German of Serlio's Regole generali di architettura (1542).
Rodler, Hieronymus (fl. 1531-1546)
Rodler was the editor of an anonymous, Ein schön nützlich Büchlein (1531), and sometimes described as its author although this is now thought to be Johann II von Pfalz-Simmern.
There is one article on Rodler by Bonnemann (1938). Aldrian (1970) included an introductory essay to her reprint of the 1531 edition. Vagnetti (1979,325) added a note.
Romano, Bartolomeo (fl. 1595)
Romano was the author of Protheo militare (1595) which contained a chapter on "Diversi istrumenti di prospetttiva".
Rossi, Bartolommeo De (fl. c.1600)
Bartolommeo De Rossi was the editor of a work on Roman ruins, Ornamenti di fabriche antichi et moderni (1600) by Giovanni Maggi.
Ryff, Walther Hermann (fl.c. 1540?-c.1560?)
(Rivius, Gualtherus)
Ryff edited a German edition of Vitruvius which borrowed heavily from Cesariano and translated into German Alberti's De pictura, Gauricus' De sculptura and Serlio's Il secondo libro di perspettiva. These treatises appeared in a work entitled Der fürnembsten...(1547,1558,1582) which was studied somewhat by Röttinger (1914) and Benzing (1959).
Sangallo, Antonio da, il giovane (1483/1484-1546)
Antonio da Sangallo produced sheets of Machines (Macchine, Florence, Uffizi, Gabinetto dei Disegni, 1483A and 4063Av) and made a study of the Vitruvian scene (Florence, Uffizi, nr. 1087,1269,1671, c.1515-1530) mentioned by Mancini et al (1975, 38) and Stein (1969, 43-46). He was was attributed to have made a drawing of a perspective scene (New York, Collection of D. Oenslager, c.1535), which Zorzi (1977, 93) suggested might be by Bastiano da Sangallo.
Sangallo, Giovanni Battista da (1496-1562) (1496-post 1548)
(Gobbo, Il; Il Gobbo; Sangallo, Gobbo)
G. B. da Sangallo produced a sheet of Machines (Macchine, Florence, Uffizi, Gabinetto dei Disegni, 1665A) based on Giuliano da Sangallo's Taccuino senese (Siena, Biblioteca communale, S.IV.8, c. 12) and was concerned with scenography, as mentioned by Mancini et al. (1974,38). Stein (1969,26, 46) claimed that he made illustrations of the three Vitruvian scenes and added marginalia in an edition (1486) of Vitruvius by Sulpizio da Verolis (now Rome, Biblioteca Corsiniana), although Zorzi (1977) subsequently ascribed this to Bastiano da Sangallo.
San Gallo, Giuliano da (c.1445-1516)
(Giamberti, Giuliano)
Giuliano da San Gallo produced two important works on machines, the Taccuino senese (Siena, Biblioteca communale, S.IV.8) and the Codice Barberiano or Libro dei disegni (Rome, Vatican, Biblioteca Apostolica Vaticana, Ms.Barb. Lat 4424), the latter of which contained Roman ruins and those of Florence, Ancona, Fano, Ravenna, Turin, Naples, Benevento and Capua.
Sangallo was discussed by Vasari (II,211) as an architect who studied marquetry with Francione and carved "the most beautiful perspectives" for the choir of the Duomo of Pisa. The edition by Huelsen () was fundamental and remains the basis of a recent reprint (). Sanpaolesi (1949) examined parallels between the Sangallo's Codice Barberiano and the Urbino Panel. Giuliano da San Gallo and Domenico Ghirlandaio were suggested by Fabbri, Zorzi, Tofani, (1975, 76-79) as the painters of the famous Urbino Panel showing an idealized city which has been variously attributed to Piero della Francesca and Luciano da Lauranna.
San Michele, Michele (1484-1559)
San Michele was cited by Vasari (III,271) as famous for his studies of ancient architecture in Rome and its environs.
Saracenus, Ioannes Carolus (fl. 1569)
Saracenus was the translator from Italian into Latin of Serlio's Il secondo libro di perspettiva (1569).
Scamozzi, Vincenzo (1552-1616)
Scamozzi was the author of a book on Roman ruins entitled Discorsi sopra l'antiquità di Roma (1582), a number of plates of which are derived from Cock (c.1550) via Pittoni (1561). His drawings relating to the Teatro Olimpico (Vicenza, 1585, e.g. Vicenza [2], Florence, Uffizi [4] and Chatsworth, Collection of the Duke of Devonshire [1] were cited by Mancini et al. (1975,40). His drawing of the Teatro Olimpico in Sabbioneta (now Florence, Uffizi, 1588) was cited by Sinisgalli (1981, fig. 88) and his work on that theatre was mentioned by Milman (1986, 69).
Schön, Erhard (after 1491-1542)
Schön was the author of Unnderweissung der Proportzion und Stellung der Possen (1538).
His engravings were listed by Passavant (1860-1864, III, 243-244). He was studied by Roettinger (1925). Gombrich (1960) considered in passing his model drawings.
Serlio, Sebastiano (1475-1554)
(Sebastiano Bononiensis (S.B.); Bolonha, Sebastian de)
Serlio was an architect who inherited many of the notes of Peruzzi on perspective and published these as the second of his books on Architecture. (1545). The fourth book on Architecture was the first to be published (1537) under the title Regole generali d'architettura, and was frequently listed in bibliographies on perspective. The two final books were never published and remain in manuscript (Munich, Bayerische Staatsbibliothek). A Perspective View of the Piazza San Marco in Venice (Florence, Uffizi, Gabinetto Disegni e Stampe, n.5282, 1529-1537) was mentioned by Mancini et al. (1975,39).
Nagler (IV,1108,n.3961) referred to a series of copperplate engravings by Agostino da Veneziano of capitals, bases and columns on which the letters SB are found. These letters, he suggested, referred to Sebastiano Serlio da Bologna, named Sebastiano Bononiensis. An anonymous omnibus volume now in the Herzog August Bibliothek, Wolfenbüttel (37.2.1.Geom.2o(4)) contains ten plates with the mark SB 1928 AV. Bound together with these are plates that relate to those of Androuet Du Cerceau and Cock. It is tempting to consider whether Serlio, an Italian who immigrated to Fontainebleau, might not have been one of the crucial links in bringing such Italian architectural, perspectival drawings to France where Androuet Du Cerceau spread their influence.
Cited by Vasari (II,299; IV,309), Danti (1583) and Lomazzo (1590,17), study of Serlio began in the second half of the nineteenth century with Poudra (1864,I,147-154) Marcolini (1861, 151-156), who examined basic editions, and Charvet (1869). Gilli (1887) claimed that Serlio had not misundersttod the distance point construction. Nielsen (1898,21-24) surveyed his work. In the 1930's studies were resumed by Amodeo (1932,117-121) who examined mathematical aspects, Argan (1932) and Schöne (1933) who concentrated on links with theatre. Dinsmoor (1942) remains a basic study of Serlio's sources. Since then there have been articles by Gould (1962), Rosci (1966), De Fusco (1968), Argan (1970), Kowalczyk (1973) and a note by Vagnetti (1979,325-328).
Sirigatti, Lorenzo ( -c.1596/1597)
(Sirigati)
Cavaliere Sirigatti was the author of Elementi di prospettiva (1596), the autograph manuscript for Il primo libro della prospettiva (1593) of which is in the Biblioteca Laurenziana (Ashb. 1029) in Florence and another manuscript of which is said to be in the Biblioteca dei Concordi di Rovigo (Silvestriana 436).
The published treatise was discussed by Comolli (1791,157-158), Poudra (1864, 184-185), Schöne (1933) and mentioned by Vagnetti (1979,344) but has never been systematically studied.
Solis, Virgilius (1514-1562)
(Sollis)
Solis made a copy in reverse of the plates in Androuet du Cerceau's Fragmenta structura vetera (1565) as Geymüller (1887,300) recognized. Thieme-Becker (XXXI,249-252) noted his close association with a number of artists concerned with perspective, both in Nürnberg (Beham, Dürer, Hirschvogel, Flötner) and outside (Androuet Du Cerceau, Schön, Stör).
Sorte, Cristoforo (1510-1595)
Sorte was the author of a treatise on painting with a section on perspective, Osservazione nella pittura (1580).
Discussed by Panofsky (1927) in the notes of his Perspective as symbolic form, Sorte has been considered briefly by Almagia (1930), Hartt (1958), Previtali (1962) and Barasch (1965).
Speckle, Daniel (1536-1589)
(Specklin)
Speckle was the author of Architectura von Vestungen (1589) which contained a short section on military perspective and on compasses.
Stevens, Pieter (1567-1624)
Stevens was the author of a work on Roman ruins (1600).
Stevin, Simon (1548-1620)
Stevin was connected with the beginnings of the university of Leiden (1575). Although his treatise on perspective, Van de Deursichtighe was not published until 1605 it was cited by Danti in Rome in 1583 and must therefore have been available in some form at that time.
Struik (1958) edited a standard edition and English translation of his treatise on perspective. Sinisgalli (1978), edited an Italian translation with an important introduction which assessed his position within the development of perspective.
Stoer, Lorenz (c.1537-c.1631)
Stoer was the author of Geometria et perspectiva (1567), a treatise particularly designed for carpenters and masters of marquetry, the preparatory manuscript of which is at the Herzog August Bibliothek, in Wolfenbüttel (). Stoer was also the author of two manuscripts with regular and semi-regular solids, one now in Wolfenbüttel (Cod.47.1.Aug.4o); the other in the Universitätsbibliothek in Munich (2o Cod. Ms.592) which, with its hand painted folios, is perhaps the most beautiful single work ever produced on the subject.
Aside from a brief article by Eimer (1956) and Prechtl's (1969) treatment in a catalogue linking him with Jamnitzer and Lencker, which considered only the published treatise, Stoer has not been studied and very much deserves serious consideration.
Sutter, Jean-David (1811-1883)
Sutter was the author of a New simplified theory of perspective (Nouvelle théorie simplifiée de la perspective, 1859).
Marcussen (1980) studied his contribution briefly
Taccola, Mariano (1381-1458?)
Mariano Taccola, author of Liber de ingeniis, was discussed by Zorzi (1977, 75-76).
Theriaci, Vespasiano (fl. 1551)
Theriaci was the author of Discorso e ragionamento di ombre (1551).
Cited by Cicognara (1821,159) and Vagnetti (1979,329) he has never been studied.
Thiry, Léonard (-d.1550?)
(Theodorico, Leonardo)
Thiry, a pupil of Rosso Fiorentino at Fontainebleau who later lived in Antwerp, was the author of a short work on ruins which was posthumously adapted and published by Androuet Du Cerceau under the title Fragmenta structurae veteris (1550) as we learn from the epistle dedicatory to that work.
Torelli, Giacomo (1608-1678)
Giacomo Torelli, a designer of scenography, published Apparati scenici (Venice, 1644) and produced stage sets for Il Bellerofonte by F. Sacrati (Teatro Novissimo, Venice, 1642 with 10 engravings by Giovanni Giorgi now Venice, Museo Correr) and for La Venere Gelosa (1643) in the same place (with 9 engravings attributed to F. Giorgi now in Venice, Museo Correr), which were cited by Mancini et al. (1975, 63). According to Povoledo (1975, 1597), Torelli's arrival in Paris (1645) established Italian methods of perspective as a definitive part of the French stage, as illustrated by the set for Andromède (Paris, 1650) and the design for his scene completely of clouds from act III of Le Nozze di Teti e Peleo (performed in Paris, Petit Bourbon, 1654, now Paris, Bibliothèque Nationale), cited by Schnapper (1982, pl.7, 150).
Toscanelli, Paolo dal Pozzo (1397-1482)
Toscanelli, a Florentine mathematician and a friend of Brunelleschi, was attributed by Parronchi (1964,583) to have been the author of an anonymous treatise on optics (Florence, Biblioteca Riccardiana, n.2110), which Bonucci (1849,IV,95) attributed to Alberti.
Toscanelli was the subject of articles by Fabriczy (1892), Bandini (1898), Vignaud (1902), De Lollis (1923) and Sumier (1927). The most comprehensive work to date was a monumental tome by Uzielli (1892), who also wrote articles (1894,1902,1902). More recently there were studies by Garin (1961) and Parronchi (1964) and an interpretation of his possible influence by Edgerton (1974, 1975).
Urbino, Carlo (fl. c.1550-d.c.1585?)
(Carlo da Crema; Urbini, Carlo)
Ridolfi (1648, 1914) praised Carlo Urbino as a student of symmetry and perspective. Bora (1980) suggested Carlo Urbino as the probable author of the anonymous Codex Huygens, which was given greater weight by the discovery of a sheet in Verona published by Marinelli (19 ).
Vasari, Giorgio (1511-1574)
Giorgio Vasari, wrote Lives of the Artists which, although not strictly speaking a treatise on perspective, contained numerous references to the history of the subject. Vasari was also a practitioner of perspective (ibid,IV,285) particularly with respect to respect to stage design. He helped Bastiano del Sangallo in constructing the apparatus for Aridiosa (1536) and Commodo (1539). For La Talanta by Pietro Aretino (Venice, 1542) he designed a perspectival set with an idealized view of Rome described by Zorzi (1977, 98-99); may have designed the scene for Il Granchio (Florence, 1566) and helped with the apparatus of the Widow (La Vedova, Florence, 1569) for which Lanci did the sets according to Zorzi (1977, 209). Vasari, an uncle of Giorgio Vasari, il giovane, who wrote a treatise on perspective, was mentioned by White (1957,119-120, 136,140,142).
Vasari, Giorgio, il giovane (fl. 1593)
Vasari, il giovane, nephew of the author of Lives of the Artists, was the author of a manuscript, Prospettiva (Florence, Uffizi, Gabinetto dei disegni, Mss. Nn. 4945-4985 e 5986-5045, 1593), based on Sirigatti to whom the work was dedicated. He also wrote a Raccolto di varii instrumenti per misurare con la vista (Florence, Bibliotreca Riccardiana, ms. 2138, 1600).
Olivato (1969-1970) remains a basic summmary of his work. Stein (1969, 61) mentioned his drawings (Florence, Uffizi, vol.39, 1529-4594).
Vitruvius Pollio, Marcus (c. 80-10 B.C.)
Vitruvius' De architectura contained references to the use of proto-perspective in Antiquity which have frequently been interpreted as referring to linear perspective among whom White (1957,250-257) was one of the the most important. Other interpretations have been considered in the main body of the text (pp.). The edition of Cesariano (1521) contained perspective diagrams (fol.XIv and LXXXXVIr) which may stem from Leonardo, and practical examples (e.g. LXXXXVIv-LXXXXVIIv). This edition was the basis for Caporali (1536). Both of these editions appeared in bibliographies on perspective.
Vlieger, Simon De (c.1600?-1653)
(De Vliegher, Simon)
Simon de Vlieger, who produced a Sheet of studies in perspective (London, British Museum, 1645), was a teacher of marine landscape painter, Willem Van de Velde, the Younger.
Wheelock (1973,1977,17-18) mentioned this sheet briefly. Ruurs (1983) discussed this sheet in relation to drawings by Willem Van De Velde, the Younger at Greenwich.
Vredeman de Vries, Jan (1527-before 1609?)
(Fridmannus; Giovanni di Frisia di Graminge)
Jan Vredeman de Vries was the father of Paul Vredeman de Vries and the teacher of both Hendrik Hondius and Samuel Marolois. He is probably best known for his Architectura (1565 etc.) which went through 30 editions by the end of the seventeenth century and for a work entitled Perspective, id est celeberrima ars inspicientis (1604) which was subsequently incorporated in the compendiums by Marolois (1614 etc.). His earliest publication was Scenographiae, sive perspectivae (1560) for which, as Mielke (1967,19) has noted the preparatory drawing for plate 14 is now in Berlin (Kupferstichkabinett, 3460, Hdz.1201) and for which the preparatory drawings for plates 4, 5, 7, 12, 15, 16, 17, 19 dated 1557-1558 are now in Vienna (Albertina, Kat.Nr.293-300). That same year (1560) Vredeman de Vries also published Artis perspectivae plurium generum elegantissimae formulae, a Wolfenbüttel copy of which (36.13.Geom.2o(4)) has four plates taken from the Scenographiae and indeed has this as a second title. An undated (c.1560-1562), untitled collection of oval architectural views, for which the preparatory drawings survive, (Berlin, Kupferstichkabinett, 3460, Hdz.1185-1190), are thought to be models for intarsia. Similarly a series of architectural views (1562) also have extant preparatory drawings (Berlin, Kupferstichkabinett, 3460, Hdz.1191-1200). There followed Variae architecturae formae (1562) and Pictores...varias coenotaphiorum,tumulorum, et mortuorum monumentorum formas (1563), preparatory drawings for (the latter of ) which are in the Provincial Library in Leeuwarden (Hs.11). He next published an untitled series of fountains (1573) and a collection of perspectival gardens, Hortorum viridariorumque elegantes et multiplicis formae...(1583) and a related untitled series of gardens (1587), associated with a manuscript of garden designs and layouts (Washington, Library of Congress, cf.NUC, 643, 127). Some of his paintings were cited in the catalogue by Giltaij (1991).
Mentioned by Comolli (1791,159-161) and Poudra (1864, 240-242), modern scholarship began with a section by Schoy (1879, 170-204) in his book on the history of Italian influence on Netherlandish architecture. Peters (1895) reviewed the literature, provided biographical notes and surveyed his major writings. Cuny (1927) examined his links with Aegidius Dickman. Thöne (1960, 1962) and Slive (1963) offered more general comments. Blockmans (1962) examined work from his Antwerp period (1577-1586). Iwanoyko (1963) studied his use of space on the basis of examples in Danzig and Vienna. Schneede (1965) in an important dissertation studied his paintings in the context of representative society paintings relating his work to that of Steenwyck the Younger, Grimmer, De Caulery, Giselaer, Van Bassen and Van Delen. A fraction of this dissertation appeared as an article on interiors by Jan and Paul Vredeman de Vries. Meanwhile Ballegeer (1965-1966) explored their architectural work in a dissertation and then examined the influence of some of their architectonic forms on Steenwyck the Elder and the Younger, Neefs, father and son; Vranx, Ghering, Van Delen, Van Bassen, De Lorme, Van Baden and Aertsz. A fundamental dissertation by Mielke (1967) catalogued all his engravings and the preparatory drawings thereof. Liedtke (1970-1971) examined Vredeman de Vries and Van Delen as sources of imaginary architectural painting.
Vredeman de Vries, Paul (1567-before c.1636?)
(Vries, Paulus Vredeman de)
Paul, the son of Jan Vredeman de Vries, produced a series of perspectival views linking the five orders of columns with the five senses (c.1600) which were engraved by Hondius and subsequently incorporated into the compendium of Marolois (1614 etc.).
Werner, Georg Heinrich ()
Werner wrote a basic book on The learning of drawing through geometry and perspective (1763), with subsequent editions dedicated to various branches of drawing; e.g. flowers (1765), four footed animals (1766), persons (1768).
His original work was reviewed in the Göttingen notices (Göttingische Anzeigen, 1764, 685-688).
Witelo (c.1220/1230-c.1300/1314)
(Vitellio)
Witelo, who wrote a great optical compendium (c.1270-1280), heavily influenced by Alhazen (Ibn al-Haytham) went through three editions in the sixteenth century (1535,1551,1572) and although effectively a treatise on light and vision it was regularly included in bibliographies on perspective.
Wyssenbach, Jeremias (fl.c.1545?-c.1560?)
Jeremias Wyssenbach was identified by Nagler with the monograms IW and WI. These appear on a number of architectural phantasies in perspective found in Blum (1561) which were mentioned by May (1910, 61-67). See also Rudolf Wyssenbach.
Wyssenbach, Rudolf (fl.1545-1560)
Rudolf Wyssenbach is identified by Nagler with the monograms RW. These appear on a number of architectural phantasies in perspective found in Blum (1561) which were mentioned by May (1910, 61-67). See also Jeremias Wyssenbach.
Zamberti, Giovanni (c.1500?-1550?)
(Zamberto; Zambertus)
Zamberti, a Venetian mathematician acknowledged by Barbaro (1568, proem) as one of his teachers, was the brother of Bartolommeo Zamberti the first editor and translator of Euclid from Greek into Latin (1505). Giovanni Zamberti's role was discussed briefly in the dissertation by Laven (1957,215-216).
Zenale, Bernardo (1436-1526)
(Bernardino da Trevio; Zenale di Trevigi)
Zenale, according to Lomazzo (1585,270-271, 274-275; 1590,17,50), was the author of a manuscript on the manner of constructing houses, temples and other edifices, dated 1524 and dedicated to his son, which Lomazzo acquired and intended to publish but which was subsequently lost.
In terms of practice Zenale worked with Butinone on frescoes of the Life of Saint Ambrose (Milan, San Pietro in Gessate, Capella Grifi, c.1490-1493).
Cited by Vasari (III,323-324), his treatise was referred to second hand in studies by Murr (1770,496), Comolli (1791,209), Springer (1885), Suida (1943), Ferrari (1960, 1963), and mentioned by Vagnetti (1979,315). In a major catalogue on Zenale, Dalai Emiliani in collaboration with Perino and Fronza (1982) reconstructed the perspectival lines of his Polyptych of the immaculate conception (Polittico dell'Immacolata Concezione), his Scourging of Christ (Cristo schernito), his Saint Martin and the pauper (San Martino e il povero) and his Madonna with Child (Madonna con Bambino, San Domenico; while Lavagetto and Giusto reconstructed the lines of the Virgin enthroned with child (Vergine in trono con il bambino e un paesaggio sullo sfondo) attributed to Zenale.
Zündt, Matthäus (fl. 1567-d.1572)
The Monogram MZ appears on plates [22]a and [25]a in the 1567 edition of Lencker's Perspectiva Literaria; plates [21]a and [24]a of the 1595 edition and plates 2 and 8 of the 1596 edition.
Last Update: August 3, 1998