Less obvious members of the curial hierarchy, however, played an equally important role in the patronage of art both as individuals and on an institutional level. These clerics were simoniacal office holders, often Bishops but their real power at Rome lay in their role as Clerks of the Chamber, a role that also made them wealthy men. Art historians maintain that Raphael moved to his classical grand style in the early , but how much Chigi is responsible for this development? The Cappella Gregoriana, St. As if to acknowledge the fact that this late Cinquecento marble revival looked back to Christian antiquity, the Cappella Gregoriana was the subject of renewed ekphrasis, in prose and verse, by the Jesuits Ascanio Valentino and Lorenzo Frizolio.
While Frizolio sought to demonstrate that the chapel could be compared with ancient works, and therefore drew his terminology from Vitruvius and Pliny, Valentino described the geological images the stones presented as microcosms of a larger creation infused with divine artistry. In a number of cases, the commissioning of landscape paintings from the artist coincided or closely followed actual land acquisition in the Campagna.
Such acquisitions were of crucial symbolic importance, because so many noble titles were attached to particular towns or castles. Through a series of case studies, this paper will attempt to analyse these paintings within the context of land ownership, agricultural practices and the relationship of the new owners with those living on their estates. Drawing practice and antiquity: Multiple versions of the Roman past characterized the political culture of Renaissance Rome: Both sides cited historical precedents to advance their claims to civic authority. The pontificate of Leo X, however, saw a shift in these debates over the city's classical past: This paper will argue that Leo's strategy succeeded because of his willingness to disconnect performance from political reality, a strategy that allowed the Romans to retain their public dignity at the same time as it deprived them of real political influence.
Bentz, Saint Anselm College Without stable dynastic rule, threats of disease in 16thth-century Rome resulted in constant political gossip and speculation about the health of the pope and his cardinals. Indeed, health concerns engendered a preoccupation with preventative medicine, and the period witnessed a surge of literature advocating healthy diets and exercise. Villa gardens built by wealthy prelates around Rome provided especially hygienic places for recreation and convalescence after illness.
Surrounded by greenery, garden owners enjoyed the salubrious effects of fresh air, soothing birdsong, and the edifying beauty of fountains and sculpture. Scholars have long studied the iconography of garden sculpture and how villas represented social status for their owners. But few have focused on the health-related functions of villa gardens. This paper instead considers the therapeutic benefits of Roman gardens for prominent ecclesiastics, and in particular, examines early modern ideas about the color green, believed to promote healthy eyesight and clean air.
For both pragmatic and epistemological reasons, the national churches in Rome were most often studied in isolation. The project strives to approach the churches as part of a larger corpus. This research aims to develop the study of music in the national churches in Rome by asking the fundamental question of cultural exchanges between these institutions and the nations they represented in the pontifical city.
This paper will present an overview of the key aspects and results obtained so far in this research project. Virginio Orsini nella corrispondenza di Giovanni Pontano: In the last few years, portraits have been at the centre of studies carried out in several disciplines: My paper will rise to this challenge and, by considering the figures portrayed in their physical the family home and historical Rome in the 17th century contexts.
Furthermore it will consider the idea that those commissioning portraits belonged to the same bloodline as those portrayed and that a specific space was devoted to the visual effect achieved by the images. Due esempi del lavoro filologico del Ginnasio greco di Leone X: Il poeta ricorre a vari procedimenti stilistici e retorici per descrivere la vita corrotta e iniqua della corte romana: The unique traits of the Papal monarchy implied the need for a complex staff of officials in charge of a wide range of tasks, from local administration to spiritual matters, including taxation and indulgences, road works and canonisations, organisation of jubilees and the apprehension of burglars and murderers.
This relentless bureaucracy is mirrored in a flourishing production of ordinances, printed in the shape of pamphlets or, most frequently, single sheets. These publications developed through the sixteenth century, gradually replacing manuscript ordinances and changing their appearance according to their specific function.
- Macro: Museo díArte Contemporaneo di Roma.
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- Soeur Jumelle (French Edition).
This paper will provide an overview on the function and features of this family of imprints, focusing on broadsheets printed by the Cameral printers of Rome in the sixteenth and seventeenth century. These include poetic theology as a humanist endeavor, the relationship of reason and revelation, love and beatific vision, body and soul.
At its heart is an altarpiece by Annibale Carracci and pupils depicting the Virgin of Loreto seated on the Holy House and holding the Christ Child, who pours water on souls in purgatory below. In this paper I place the iconography of the altarpiece in relation to the broader programme of the chapel as a whole. Most likely devised by Giovanni Battista Agucchi. Some scholars Loren Partridge, David Coffin, etc. However, if we consider only the iconography of their private chapel, the interpretation can be different.
In this conference, I will look at the localization of the different scenes, their organization together and the way they were used for private devotion to show that they create a discourse on the dogma of Redemption. A bridge to Baroque Rome: Born only two years apart, their common Tuscan origins and precocious achievements led to an invitation from Pope Urban VIII Barberini to join his learned circle of artists and literati. For the Barberini opera Egisto or Chi Soffre speri , Rospigliosi penned the libretto and Bernini designed the stage set. This would be only one of many future collaborations between these two men.
This paper will discuss the relationship between Rospigliosi and Bernini that lasted most of their lives and culminated in the completion of perhaps the most famous bridge in Rome that epitomizes the Baroque. This paper investigates the full-size replica of the Shroud of Turin displayed from the early s onwards above the altar of the newly established Church of Santissimo Sudario in Rome.
Nel corso del ventennio successivo, nel quadro delle difficili relazioni diplomatiche fra la corona francese e la Santa Sede, B. Infine, dal al , B. Gregorio XIII, consapevole delle solide competenze astronomiche del proprio concittadino cliente, lo assunse nelle vesti di consulente della riforma del calendario, giunta a soluzione nel Segretario, agente, informatore politico, perito fiscale della Camera Apostolica, imprenditore privato, B.
Eroine, imperatori e re: Palazzo Chiovenda e la Roma di Leone X: Cohen, York University Adultery was one of several offenses against marital and sexual norms that in Rome could be tried under more than one kind of law. These matters of morals and conscience usually came before the ecclesiastical court of the Vicario, but for this tribunal we have no trial records in this period. Was this a product of neglected religious virtue, of discounted honor, or of weak social cohesion in a highly mobile city where people had to live and let live?
It set a plaintiff, the Duke of Paliano, a papal nephew, against the father of a dwarf. How, and why, does one steal a dwarf? Sadly, the dwarf himself never testifies, at least in papers that survive, but we do hear from the father, and the brother, and the sea captain who had agreed to help the trio to abscond from Rome, with the little fellow, a plaything of the ducal court, and with some high end goods that, in fact, were not theirs to snatch and carry back home to Genua.
The story has its suspense, and its mysteries of motive, as nobody is telling the entire truth. It is most interesting for the nice window it opens, below stairs, to how one dealt with dwarfs, and thought about them, in the shadows of the great. A dwarf was a family asset, and the father tries hard to cash in, but misplays his hand and then, dissatisfied, cannot break off the deal. Da Urbino a Roma: Little scholarly attention has been paid to this composition, however, this paper will argue that it represents both an innovative artistic intersection of Peruzzi's varied professional pursuits and a response to the atmosphere of s Rome.
Taking into account Peruzzi's treatment of the Ponzetti Chapel frescoes, particularly the themes elucidated by Cynthia Stollhans in her argument for Peruzzi's break with pictorial tradition, the aim of this examination is to position Peruzzi's Presentation as an innovative approach that synthesized the traditional narrative with emergent theatrical scenography. This paper also seeks to explore the dynamic of Peruzzi's network of visual discourse between Michelangelo, Raphael whose work was present elsewhere in the chapel and Sebastiano del Piombo as a more global consideration of the varied influences in Roman painting.
Yet, Cossa was a critical figure in re-establishing Rome as the political center of the papacy. Moreover, these accusations are mostly untrue he was, in fact, a murderer. Previously, Cossa achieved substantial diplomatic and military success in recovering Rome for the papacy. With the inevitability of the Council of Constance, Cossa changed his goals, seeking instead to establish his seat of power at the now-abandoned papal palace in Avignon.
German Bread for Papal Rome. Considerations on a Professional Group in the 15th and 16th centuries Tobias Daniels, University of Munich The paper aims at reconstructing the community of the German bakers in Rome from the 15th century up to the sack of Rome It thus deals with a professional group that became very wealthy and well organized in the course of the Papal Annona-politics.
This paper seeks to widen the picture by focusing on the Roman notarial archives Archivio di Stato and Archivio Capitolino. It will thus give a first approach to an analysis in more depth regarding patterns of relationships, interpersonal networks and cultural emanations of a professional group that provided food for the population of Rome and the Popes themselves.
A Quattrocento image of ceremony and triumph: Lo sguardo, la misura, la linea: An in - depth study of the manuscript shows how a recipe collection can effectively be considered a historical document. While focusing briefly on sugar as a costly status symbol, a broad spectrum history of this ephemeral art will also be outlined. The significance of sugar sculpture, which adorned papal and court banquets, will be illustrated with the very first detailed typological classification, and accompanied by unique drawings and etchings.
How did Roman humanists reinvestigate the origins of Rome? The Augustan age in particular saw an explosion of accounts drawing on a wide range of Greek and Roman sources. Certain approaches to historiography and archaeology began to be forged, as we can see from the artes historicae, reports of ancient sites, and commentaries on the ancient historians written by humanists.
Capturing the Eternal City in Flux: Over the course of the century, hundreds of artists from the Low Countries flocked to the city, recording along the way their impressions of the Caput Mundi. This paper investigates drawings by seventeenth-century Netherlandish artists as visual evocations of the artist-migrant experience. The cracked facades, crumbling ruins, and humble travel stops repeatedly sketched by artists such as Jan Asselijn, Jan Both, and Jan Baptist Weenix, venerated not the legendary Eternal City, but rather contemporary Rome in flux. Many examples also portrayed artists working cooperatively and sketching in pairs or groups.
Such drawings not only suggest that these artists were keenly aware of their position as migrants, but also that they capitalized on their foreignness in order to capture Rome as a thriving cosmopolitan center. Il baldacchino angelico di Buonvicino venne poi smantellato nel per fare posto a quello di Gian Lorenzo Bernini. For several days a long queue of curious spectators lined up for an opportunity to view and touch the pagan corpse until Pope Innocent VIII Cybo had the body secretly removed and anonymously disposed.
Durante il periodo avignonese, i Frangipane furono una famiglia di secondo piano. Politics, Power, and Piety: At first glance, the imagery of the Carafa Chapel appears to consist of some standard portrayals of the Virgin of the Annunciation and Saint Thomas Aquinas. However, interpretations of the iconography of the fresco cycle remain disputed by art historians. The two women were themselves double cousins, not unusual in this many- branched family where Orsini-Orsini marriages were common. Alfonsina established a major presence in Rome during the Ponfiticate of her brother-in- law, Leo X, building her own palace.
Individual Orsini, moreover, served her as ladies in waiting and military captains, as well as Papal representatives and ambassadors with business in France. Catherine prided herself as a consultant on strategic marriages and in she exchanged letters with her cousin Cosimo I about the proposed marriage of his daughter Isabella with Paolo Giordano Orsini, Duke of Bracciano. Examination of these relationships demonstrates how the claims and deployment of family connections, even when very complex, can bridge the distances between Paris, Rome, and Florence to further political and personal ends.
Lessons in Strategic Adaptation Alison C.
EARLY MODERN ROME 3 | Julia L. Hairston and Paolo Alei - theranchhands.com
A profitable meeting led to the Jesuits situating themselves in the city center and strategically adapting it to their needs. This paper will examine how the early Jesuits used Rome to develop their order and combat heresy in the early modern period. The Carceri Nuove on via Giulia The Carceri Nuove, a joint project of Virgilio Spada and architect Antonio del Grande, represented a complete rethinking of prison spaces, including the separation of prisoners by sex, religion, and social status.
The building was conspicuous not only because of its location on the noble avenue of Julius II, but also because of its external appearance. In this paper, I will review the motives for the construction of the New Prisons and discuss the unusual qualities of its design in the context of contemporary ideas of social control. Education and Work Training in Early Modern Roman Orphanages and Conservatori Alessandra Franco, University of Mary, Bismark The paper investigates the educative program of several charitable institutions devoted to the education of abandoned or marginalized girls in early modern Rome.
In orphanages and shelters, confraternities and religious orders developed training programs designed to teach their female wards handicrafts and artistic skills. This study examines how, in addition to providing financial support for the institutions themselves, the work and artistic performances of the wards empowered the trainees with a set of specialized skills spendable in the outside world.
Percorsi di studio e professioni a Roma nel Rinascimento: Thus, his most significant sources on China were Jesuit Procurators — Mission envoys with whom he met in person. While in Rome, the procurators shared with Kircher their materials and knowledge, enjoying sometimes his influence in the city. Su, Cecilia, al piacere, a le danze, al riso, al gioco: Yet the century following the rediscovery of her body saw a spike in texts—in print and in manuscript—depicting the saint, her death, and her relationship to the papacy: The present paper considers in particular the evaluation of Roman Humanism in this work,which was written mostly while Giovio was a courtier in the entourages of Paul III and of his nephew, Cardinal Alessandro Farnese.
Amid this uproar of vigorous form, gender lines are clearly drawn: In contrast to the now-lost frescoes decorating the ceiling and side walls in which St. Helena was a central player, the altarpiece regulates women to a primarily affective role. Il cavaliere e la dama ovvero il giurista e la regina. Dopo aver preso gli ordini minori fu consacrato sacerdotr nel , nel ottenne la nomina a cardinale. Gwynne, The American University of Rome In July five Jesuit brothers, led by Rodolfo Acquaviva , set out for the province of Salcete with the intention of founding a new church and mission in India.
Their dream was almost immediately, and brutally, terminated by local opposition. When their massacre was announced in Rome it was treated as martyrdom. Francesco Benci, SJ 94 , professor of rhetoric at the Collegium Romanum, immediately set about celebrating their deaths in a six-book epic: As a prelude to his own martyrdom, at the end of Book One the hero of this epic witnesses a cavalcade of the first Christian martyrs. This is based upon the images from the fresco cycle at the Church of Santo Stefano Rotondo. As a result, we know something about the way that his civic-minded murals and pitture infamanti communicated his political, social, and spiritual commentary on the state of fourteenth-century Rome.
Interestingly, the medieval visual traditions of secular and religious art, both of which Cola partook in, are echoed by some twenty-first-century murals on the walls of various buildings around Rome. The Spiritual Theatre of the Quarant'ore in Seventeenth-Century Rome Andrew Horn, University of Edinburgh In this paper I offer an examination of the Quarant'ore in seventeenth-century Rome which highlights the elaborate scenographies produced for the devotion and focuses on their relationship to the rite itself.
I will analyse several key examples, focusing on the role of images and their meanings within the 'spiritual theatre' of the devotion. This theatre comprised both the externally performed rite and the 'interior theatre' of prayer and meditation which the faithful performed throughout period of the exposition.
This discussion will be guided by the Quaranta essercitii spirituali per l'oratione delle Quaranta hore by the Jesuit Luca Pinelli. This paper focuses on its lost rectangular base with its characteristic rustication, frieze, and corner pilaster and investigates their reception in drawings, built architecture and even furniture of the second half of the fifteenth century by Filarete, Giuliano da Sangallo, Simone del Pollaiolo, and others. Nepotism and Its Discontents: Innocent commissioned the fountain during one of the worst famines to grip Rome and Lazio. From , a series of poor harvests caused grain to become scarce and bread prices to sky-rocket.
This paper will examine the protests staged against the fountain, arguing that the people were insisting that Innocent adhere to a traditional moral economy unique to his role as papal father.
Santa Maria della Pace and Sienese Patronage in the Sixteenth Century Philippa Jackson, British School in Rome Santa Maria della Pace was a centre for Sienese patronage in Rome during the sixteenth century in particular in relation to the chapels of the Chigi and Mignanelli but also was favoured as a burial place as indicated by the various tombs of the Sienese and their associates. The church was connected to the Apostolic Chamber, at a time when the Sienese were particularly powerful in this important curial body, and in particular the college of apostolic secretaries, who were accustomed to meet there.
This paper considers why the Sienese were particularly attracted to the church, and the complexities of chapel endowments in Santa Maria della Pace in the light of new documents. Finally, information garnered from an inventory taken in after the deaths of both Agostino and Francesca allows us to hypothesize how the room was seen and used on a daily basis by the couple and their visitors, further contextualizing the fundamental multivalent messages the room expressed to its original audience. I will thereby focus on a Dutchman, Aernout van Buchel, who visited Rome during his Grand Tour in and whose Latin diary of his journey is conserved in the University Library of Utrecht.
In the end I will focus on the remarks Aernout makes about the inscriptions of the Pantheon. Together with Jan de Jong he published many articles on several aspects of this manuscript. If necessary or wished for this lecture could also be given in Italian. An Architecture of Reason in Sistine Rome: Its architect, however, is unknown. This paper, an anticipation of a book on the subject, ascribes the design of the infirmary to Giovanni Giocondo da Verona, a humanist-architect of the highest caliber, a close associate of Leon Battista Alberti and the author of the first illustrated edition of Vitruvius.
He enjoyed enormous reputation among contemporaries, but no buildings have thus far been securely attributed to him. Scholars generally have taken this treatise as an accurate representation of the early modern pilgrimage experience. Indeed, his work is now mainly consulted for descriptions of now lost buildings and objects.
Maxxi, the National Museum of Art from the 21st century
But careful reading reveals both inaccuracies and surprising lacunae. For example, why did Mariano—the prolific promoter of Franciscan history—not mention the Pinturicchio frescoes of Bernardino of Siena in the Aracoeli? This paper will examine his discussions of several sites in order to discuss how Mariano experienced the city, evaluate its role in Franciscan history, as well as consider how he wanted other visitors to respond.
It also promised 13 more volumes to reconstruct the urban development of ancient Rome and to document all its buildings, all architectural details and ornaments, all instruments, all inscriptions, all coins and medals, all reliefs, tombstones and statues, all vases and decorative objects, all paintings, all aqueducts and all reconstructable machines. The aim of all this was to understand Roman architecture comprehensively and, by doing so, to re-awake it: Leone, Boston College The history of art and architecture in baroque Rome has essentially been told through singular relationships between powerful patrons and great artists, with Urban VIII Barberini and Bernini as the paradigm.
But Innocent X accomplished a great amount of building in a short amount of time, including the nave decoration of St. I propose a new model for understanding his contribution to the arts in midth- century Rome by focusing on how he accomplished these building projects: But how did these networks impact specific events and were they able to maintain relevance under different Papacies? For centuries Artemisia Gentileschi has been reputed to be the only woman Roman artist of her times and her crucial role has been deeply investigated Garrard, Christiansen, Mann.
Recent studies have revealed instead the presence of many women artists in Rome which function was particularly significant in the first half of the seventeenth century Lollobrigida. For instance, two portraits of Virginia da Vezzo and Maddalna Corvina depict the artists while proudly wearing their pearls necklaces.
An etching represents Anna Maria Vaiani with earrings pearls. The choice of a pearls necklace was consciously made.
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Symbols of purity and love pearls were also topics in literature. Oste e taverniere si nasce o si diventa? Alcuni nodi storiografici e alcune osservazioni sulla categoria: It explores the relationship between the papacy and the city by focussing on the representation of architecture in painting rather than on built architecture, as most scholarship has tended to do. Not Just for Men. Many of the litigants were male, too, but far from all of them. Although Italian scholarship has not yet given them much attention, early modern women actively brought cases to civil courts in many places, including Rome.
Among the services of the charitable confraternities, as stated in their statutes, was assistance to the needy in conducting lawsuits. The proposal focuses on the first steps of legal procedure that were notably difficult for a woman alone — looking for a lawyer, paying taxes and fees, and asking the for documents necessary to initiate proceedings. The gap between these two experiences was sometimes bridged by poets who carried out their performances on both sides, reciprocally influenced.
Copisti, miniatori, librai, cartolai e legatori. Gli artigiani del libro e la biblioteca di S. Inoltre gli stessi frati prestano la loro opera come copisti. Tra i codici commissionati ci sono anche quelli necessari alle celebrazioni religiose, che vengono conservati nella sacrestia, e che molto spesso sono realizzati grazie a lasciti e disposizioni dei laici devoti.
Poetry and religion in Rome in the first half of the XVI century: Among the vast influence of this attraction of reformation, that Vittoria spread among various poets and artists, the paper will focus on the multifaceted intellectual Luca Contile, who wrote his Dialogi spirituali Roma, Cartolari, as the result of a visit to Vittoria Colonna in Rome in The image of the city before that, thus, is often portrayed as a repository of antiquities that would only later become an important centre for artists and intellectuals.
One step of this development, however, is not greatly discussed: In this paper I investigate how the arrival of Baccio Pontelli from Urbino represented the possibility of modernizing Rome through an alternative cultural paradigm, despite the obvious Florentine dominance in the artistic scenario. In fact, many of these traditions dated back only a few centuries or even less, and the Quattrocento popes were assiduous in creating even newer ones — often intended to support their own political or ecclesiastical agendas.
This paper explores how popes, curialists, clerics, and scholars used the new technology of print to further codify, publicize, and spread newly invented institutions as though they had existed since time immemorial. From diplomatic ceremonies like the ambassadorial obedience, to the cult of new relics and saints, to indulgences to promote sacred institutions and projects, print lent antiquity and authority to papal innovations both within the city and abroad in the wider world.
During his time in Rome, he was involved in numerous duels, brawls, ambushes, and murders. However, Cellini did not simply narrate these events to create an honest retelling of events; rather, Cellini consciously constructed and embellished his accounts of violence. Some of these constructs bolstered his own reputation, others intended to attack the reputations of his victims, and some simply followed the mode of popular literature in Italy at the time. In my proposed paper I will discuss one of these reliefs, the one dedicated to St.
Trompe-l'oeil paintings became very popular in Flemish and later in Dutch painting in the 17th century arising from the development of still life painting. A fanciful form of architectural trompe-l'oeil, quodlibet , features realistically rendered paintings of such items as paper knives, playing cards, ribbons, and scissors, apparently accidentally left lying around. Trompe-l'oeil can also be found painted on tables and other items of furniture, on which, for example, a deck of playing cards might appear to be sitting on the table. A particularly impressive example can be seen at Chatsworth House in Derbyshire , where one of the internal doors appears to have a violin and bow suspended from it, in a trompe l'oeil painted around by Jan van der Vaardt.
This Wren building was painted by Sir James Thornhill , the first British born painter to be knighted and is a classic example of the baroque style popular in the early 18th century. The American 19th-century still-life painter William Harnett specialized in trompe-l'oeil. In the 20th century, from the s on, the American Richard Haas and many others painted large trompe-l'oeil murals on the sides of city buildings, and from beginning of the s when German Artist Rainer Maria Latzke began to combine classical fresco art with contemporary content trompe-l'oeil became increasingly popular for interior murals.
Trompe-l'oeil, in the form of " forced perspective ", has long been used in stage-theater set design , so as to create the illusion of a much deeper space than the actual stage. A famous early example is the Teatro Olimpico in Vicenza , with Vincenzo Scamozzi 's seven forced-perspective "streets" , which appear to recede into the distance. Trompe-l'oeil is employed in Donald O'Connor 's famous "Running up the wall" scene in the film Singin' in the Rain During the finale of his "Make 'em Laugh" number he first runs up a real wall.
Then he runs towards what appears to be a hallway, but when he runs up this as well we realize that it is a large trompe-l'oeil mural. More recently, Roy Andersson has made use of similar techniques in his feature films. Matte painting is a variant of trompe-l'oeil, and is used in film production with elements of a scene are painted on glass panels mounted in front of the camera. Coyote paints a tunnel on a rock wall, and the Road Runner then races through the fake tunnel. This is usually followed by the coyote's foolishly trying to run through the tunnel after the road runner, only to smash into the hard rock-face.
This sight gag was employed in Who Framed Roger Rabbit. In Chicago 's Near North Side , Richard Haas used a story apartment hotel converted into a apartment building for trompe-l'oeil murals in homage to Chicago school architecture. One of the building's sides features the Chicago Board of Trade Building , intended as a reflection of the actual building two miles south. Several contemporary artists use chalk on pavement or sidewalk to create trompe-l'oeil works, a technique called street painting or "pavement art. The Palazzo Salis of Tirano , Italy has over centuries and throughout the palace used trompe l'oeil in place of more expensive real masonry, doors, staircases, balconies and draperies to create an illusion of sumptuousness and opulence.
Trompe l'oeil, in the form of "illusion painting", is also used in contemporary interior design, where illusionary wall paintings experienced a Renaissance since around Significant artists in this field are the German muralist Rainer Maria Latzke , who invented, in the s, a new method of producing illusion paintings, frescography , and the English artist Graham Rust. The Annunciation Diptych by Jan van Eyck , detail c.
Acta Artis, 1, 2013
Portrait of a Carthusian by Petrus Christus Note the fly near the bottom. Jacopo de' Barbari , The first still-life trompe l'oeil since antiquity. The Goldfinch by Carel Fabritius. Church interior by Gerard Houckgeest c. Cornelis Norbertus Gijsbrechts , , The reverse of a framed painting. A painting of papers and tools held by straps Evert Collier Cornelis Norbertus Gijsbrechts , ,Trompe l'oeil med pistoler. Trompe l'oeil by Henry Fuseli Complete anamorphosis of the frontage of the Saint-Georges Theatre.