From the early sixteenth century, stage sets in the Italian theatre were constructed in accelerated perspective. The stage and scenery were shallow, but the sets give illusions of much deeper spaces—typically piazzas and receding streets surrounded by buildings. The best-known example is Sebastiano Serlio’s temporary theatre of 1539 described in his second book on Architecture. This paper argues that the accelerated perspective scene was first introduced by Serlio’s master Baldassare Peruzzi for productions of the comedy La Calandria in 1514 and 1520, and then for Le Bacchidi by Plautus in Rome in 1531. Detailed working drawings survive for the set of Le Bacchidi and are used here for the first time to explain Peruzzi’s method by constructing a scale model, giving a vivid sense of how the illusion worked and would have appeared to the audience. It is suggested that Peruzzi was inspired in part by the architectural backgrounds of a number of fifteenth-century paintings. His invention had a profound influence on stage design for the next two centuries, as shown by surviving sets and handbooks of stagecraft.

中文翻译：

---

Baldassare Peruzzi 与加速透视中的戏剧风景

从 16 世纪初开始，意大利剧院的舞台布景是以加速视角建造的。舞台和风景都很浅，但布景给人的错觉是更深的空间——通常是广场和被建筑物包围的后退街道。最著名的例子是塞巴斯蒂亚诺·塞利奥 (Sebastiano Serlio) 于 1539 年在他关于建筑的第二本书中描述的临时剧院。本文认为，加速透视场景首先由 Serlio 的大师 Baldassare Peruzzi 在 1514 年和 1520 年为喜剧 La Calandria 的作品引入，然后在 1531 年由普劳图斯在罗马为 Le Bacchidi 引入。 Le Bacchidi 集的详细工作图保留并在这里首次用于通过构建比例模型来解释佩鲁齐的方法，生动地说明幻觉是如何运作的，并且会出现在观众面前。有人认为佩鲁齐的部分灵感来自于许多 15 世纪绘画的建筑背景。他的发明对接下来两个世纪的舞台设计产生了深远的影响，从现存的舞台布景和手册中可以看出。