The painter-architect Baldassarre Peruzzi (1481–1536) is often credited with the invention of the canonical perspective stage set, yet very little is known about his first prospettiva – the theatre structure mounted inside the Vatican's apostolic palace for the vernacular comedy La Calandria in 1515. With extensive new archival research, this article reconstructs the landmark structure as accurately as possible and asks what made Peruzzi's theatre architecture particularly compelling to later sixteenth-century critics like Paolo Giovio, Sebastiano Serlio and Giorgio Vasari. Through a comparative analysis of the set and the play-text by Cardinal Bernardo Dovizi da Bibbiena, what emerges are mirroring strategies of audience address with roots in classical rhetoric. The later half of the article considers the legacy of Peruzzi's scenography in Cinquecento architectural thinking, drawing particular attention to the notion of performative agency that legitimized an analogy between building and language.

中文翻译：

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捕捉眼睛和感动灵魂：佩鲁齐为 La Calandria 和建筑机构的表演机构设定的视角

画家兼建筑师 Baldassarre Peruzzi (1481–1536) 经常被认为是规范透视舞台布景的发明者，但人们对他的第一个 prospettiva 却知之甚少——这座剧院结构安装在梵蒂冈的使徒宫殿内，用于白话喜剧 La Calandria 1515. 通过广泛的新档案研究，本文尽可能准确地重建了地标建筑，并询问是什么让佩鲁齐的剧院建筑对保罗·乔维奥、塞巴斯蒂亚诺·塞尔利奥和乔治·瓦萨里等 16 世纪后期的评论家特别有吸引力。通过对红衣主教贝尔纳多·多维兹·达比比耶纳 (Bernardo Dovizi da Bibbiena) 的场景和剧本的比较分析，出现了源于古典修辞的观众演讲的镜像策略。文章的后半部分考虑了佩鲁齐的遗产