could, for example, simulate statues in niches or openings revealing the sky. Quadratura may also employ other illusionistic painting techniques, such as anamorphosis. Examples of illusionistic painting include: Andrea Pozzo at Sant'Ignazio, Rome and the Jesuit Church, Vienna. He wrote the standard theoretical work of his artistic ideas in the two volumes of Perspectiva pictorum et architectorum Andreae Putei a societate Jesu (Rome, 1693–1700). Holy Cross Church in the town of Brzeg, Poland, Pietro da Cortona at the Palazzo Barberini, Gianbattista Tiepolo in the Ca' Rezzonico in Venice, Villa Pisani at Stra, and the throne room at the Royal Palace of Madrid. Other examples were by Paolo Veronese at Villa Rotonda in Vicenza and Baldassare Peruzzi in the Villa Farnesina of Rome. Development Italian Renaissance artists applied their confidence in handling perspective to projects for ceilings and overcame the problems of applying linear perspective to the concave surfaces of domes in order to dissolve the architecture and create illusions of limitless space. Painted and patterned ceilings were a Gothic tradition in Italy as elsewhere, but the first ceiling painted to feign open space was created by Andrea Mantegna, a master of perspective who went to Mantua as court painter to the Gonzaga. His masterpiece was a series of frescoes that culminated in 1474 in the Camera degli Sposi of the Ducal Palace. In these works, he carried the art of illusionistic perspective to new limits. He frescoed the walls with illusionistic scenes of court life, while the ceiling appeared as if it were an oculus open to the sky, with courtiers, a peacock, and putti leaning over a balustrade, seen in strongly foreshortened perspective from below;di sotto in sù. This was the prototype of illusionistic ceiling painting that was to become an important element of Italian Baroque art. Correggio at Parma took the illusionistic ceiling a step farther in his frescoes of Christ and the Apostles for the cupola at the San Giovanni Evangelista and in the Assumption of the Virgin in the dome of the Parma Cathedral, which is Correggio's most famous work (1520–24); in these frescos Correggio treats the entire surface as the vast and frameless vault of heaven in which the figures float. In a visual continuity between the architectural interior and its painted surfaces, Corregio's clouds and figures appear to inhabit the same architectural space in which the spectator stands. In Baroque Rome, the long-standing tradition