1653 and possibly between 1659 and 1666) until his death in Rome on 5 November 1670. Work Most of Codazzi's paintings are medium-sized paintings of architecture, either ruins, ideal architecture, or capricci, in a landscape setting. The type of decorative architectural paintings that Salucci created represent a form that became popular in mid-17th century Rome. Art historians interpret the growing popularity of the architectural piece in 17th century Italy as the result of a shift of patronage from 'committente' to 'acquirente', that is, from painting on commission to painting on the open market. Architectural canvases were particularly welcome within the typical 17th-century decorative ensemble, where walls were completely covered with paintings of various types and sizes. The architectural piece lent variety to such ensembles by introducing the strong verticals and horizontals of its subject matter. The roots of this type of vedute can be found in 16th-century painting, and in particular in the architectural settings that were painted as the framework of large-scale frescoes and ceiling decorations known as quadratura. These architectural elements gained prominence in 17th-century painting to become stand-alone subjects of easel paintings. A number of artists practiced this genre. Alessandro Salucci was an important contemporary practitioner of the genre whose work was influenced by Viviano Codazzi. Codazzi's vedute where generally more realistic than those of Salucci who showed somewhat greater creativity and liberty by rearranging Roman monuments to serve the purpose of his compositions. Codazzi also did not adhere strictly to the dictations of topography and archaeology. His works show a search for architectural arrangements that evoke aesthetic harmony. Codazzi was acclaimed in his time as close to the ancient architect Vitruvius among 17th-century painters of architectural views. This recognition by his contemporaries was indicative of his mastery of linear perspective and understanding of antique taste. Codazzi's depiction of St. Peters Basilica dated 1636 is more a veduta, i.e. a topographical view, than a capriccio. It was painted in Naples and shows the old entrance to the Vatican palace, which was destroyed when Bernini's Scala Regia and colonnade were constructed, as well as clock towers (campanili) based on an engraving of a never-executed design by Martino Ferabosco. One of his best known paintings is a depiction of the Revolt of Masaniello in the Piazza del Mercato in Naples in which the figures were painted by Cerquozzi. The work was made in 1648 on a commission by Cardinal