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 direction may have been the architect Bramante Lazzari. But the scene of the Cassaria is the earliest which is described by contemporary observers as a prospettiva, and it evidently left a vivid impression upon the imagination of the spectators. The artist was Pellegrino da Udine, and the city represented was Mytilene, where the action of the Cassaria was laid. The same, or another, example of perspective may have served as a background in the following year for Ariosto's second comedy, I Suppositi, of which the scene was Ferrara itself. But other artists, in other cities, followed in the footsteps of Pellegrino. The designer for the first performance of Bernardo da Bibbiena's Calandra at Urbino in 1513 was probably Girolamo Genga; and for the second, at Rome in 1514, Baldassarre Peruzzi, to whom Vasari perhaps gives exaggerated credit for scenes which 'apersono la via a coloro che ne hanno poi fatte a' tempi nostri'. Five years later, I Suppositi was also revived at Rome, in the Sala d' Innocenzio of the Vatican, and on this occasion no less an artist was employed than Raphael himself. As well as the scene, there was an elaborately painted front curtain, which fell at